JSlTVT  at  E U R 


rUBLISIIED  BY 

THE  BLAIR  CAMERA  CO. 

Boston,  ruiLADELPiiiA,  Chicago 


THE 


AMATEUR 

GUIDE 

IN 

PHOTOGRAPHY 


T.  H.  BLAIR 


Revised  Edition 


PUBLISHED  BY 

THE  BLAIR  CAMERA  CO. 
Boston,  Philadelphia,  Chicago 
1888 


THE  GETTY  RESEARCH 
INSTITUTE  LIBRARY 


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IV 


PREFACE. 


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THE  AUTHOR. 


^Introduction.  ^ 


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AMATEUR  GUIDE 


IN 


PHOTOGRAPHY. 


SELECTION  OF  TOOLS. 

IT  is  a difficult  task  to  advise  the  intending  purchaser  what  to  buy,  as 
the  conditions  under  which  the  operator  will  be  likely  to  labor  should 
govern  this  largely. 

One  thing  more  than  all  others  which  governs  this  selection  is  the 
amount  of  money  the  purchaser  desires  to  invest,  as  a first-class 
instrument  wili  always  do  work  which  the  cheaper  grade  wUl,  while  the 
cheaper  grades  will  not  do  that  which  the  first-class  are  especially  designed 
to  do. 

In  the  higher  grades  of  instruments  there  are  also  qualities  which  espe- 
cially recommend  the  different  styles  for  specific  purposes  ; for  instance,  the 
Champion  and  the  Improved  Reversible  Back  Cameras. 

The  Champion  was  built  to  meet  the  demand  for  a Camera  having  all 
the  adjustments  movable  with  rack  and  pinion.  To  accomplish  this,  it  was 
necessary  that  the  Camera  be  made  heavier,  and  it  is  recommended  where 
weight  is  not  so  much  to  be  considered  as  facility  of  working  the  different 
movements ; but  where  the  Camera  is  to  be  carried  much,  the  advantages 
gained  by  the  Rack  and  Pinion  adjustments  will  not  compensate  for  the  labor 
in  carrying  the  extra  weight.  Lightness  and  compactness  are  qualities  which, 
when  carried  beyond  correct  proportions,  are  antagonistic  to  rigidity  and 
strength.  Especially  so  when  the  users  of  Camera  and  Tripod  demand  that 
there  must  be  no  braces  or  tightening  screws  to  adjust,  while  the  apparatus 
must  possess  every  known  improvement,  with  the  capability  to  do  all  kinds  of 
work. 

In  the  manufacture  of  the  Improved  Reversible  Back  Cameras,  fitted  with 
Feather-weight  Holders  and  Feather-weight  or  Compact  Tripods,  The  Blair 
Camera  Company  feel  that  they  have  approached  as  near  as  is  safe  to  that  line 
where  strength  with  rigidity  and  lightness  with  compactness  refuse  to  com- 
bine, until  aided  by  braces  and  supports,  which  have  been  embodied  in  the 
English  Compact  Camera,  and  I trust  I will  be  pardoned  when  I point  to  these 
as  models  of  compactness,  rigidity,  and  good  workmanship. 

The  Lucidograph  is  an  outfit  designed  especially  for  outdoor  and  general 
work,  compactness  and  lightness  being  an  important  feature.  Owing  to  its 


2 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


reversing  on  the  tripod  to  obtain  vertical  or  horizontal  negatives,  it  is  not  as 
convenient  to  use  as  the  camera  liaving  Reversible  Back  Adjusters  ; but  it  has 
no  equal  for  compactness  in  a camera  possessing  the  advantages  it  does.  I 
can,  therefore,  do  nothing  better  than  advise  the  selection  of  one  where  the 
purchaser  desires  a less  expensive  outfit  than  one  embracing  a Reversible  Back 
Camera. 

It  must  be  remembered  that  the  Lucidograph  Camera  is  designed  to  be 
used  only  with  a lens  focussing  at  not  less  than  six  inches,  nor  more  than 
ten,  taking  as  an  example  a 5 x 8 instrument. 

TRIPODS. 

On  no  piece  of  apparatus  connected  with  photography  has  there  been 
more  experiments  tried  and  thought  expended,  to  improve  and  condense,  than 
on  this  important,  yet  bothersome  article.  Yet  the  most  satisfaetor}^  forms  are 
to-day  made  on  the  principle  of  those  constructed  ten  years  ago.  The  Feather- 
weight and  Compact  Tripods  are  sufficiently  rigid  for  all  sizes  of  cameras  up 
to  6^  X above  which  the  Combination  should  be  used. 

The  English  Folding  Tripod  is  a less  expensive  form ; yet  very  rigid  and 
easily  set  up.  It  does  not  possess  the  advantage  of  being  adjustable  to 
different  heights.  It  is  sufficiently  rigid  for  all  sizes  of  cameras  up  to  8 x 10. 
In  the  selection  of  a Tripod,  it  is  wise  to  select  the  best. 

PLATE-HOLDERS. 

Three  styles  of  this  accessory  to  the  Camera  are  listed,  in  the  attempt  to 
suit  the  most  critical.  The  English  being  the  most  desirable  in  all  sizes  above 
8 X 10,  and  both  this  pattern  and  the  Blair  Patent  being  somewhat  heavier  and 
stronger,  but  the  Feather-weight  are  much  the  lighter,  and  for  small  sizes  the 
most  desirable. 

As  the  Holders  cannot  be  filled,  or  the  Plates  which  they  carry  changed, 
except  in  a dark  room,  it  will  be  apparent  that  a liberal  supply  of  them  are 
desirable. 

Six  Double  Holders  carry  twelve  plates,  which  will  be  quite  as  many  as 
will  be  likely  to  be  used  in  a day’s  outing  ; and  after  nightfall  the  “ exposed” 
plates  can  be  removed,  and  fresh  ones  put  in,  ready  for  use  the  day  following, 
or  at  any  time  to  suit  the  pleasure  of  the  operator. 


LENSES. 

To  advise  on  the  selection  of  a lens  is  most  perplexing,  especially  so 
when  we  daily  see  e\ddences  of  the  beautiful  working-qualities  of  each  of  the 
standard  makes  ; and  as  there  is  such  a difference  of  opinion  regarding  the 
different  makes  of  the  higher  grade  of  lenses,  I refrain  from  recommending 
any  special  make  ; further  than  to  say  that  The  Blair  Camera  Company  list  only 
the  most  celebrated.  They  being  the  sole  agents  of  the  “ Orthographic  Lenses,” 
they  have,  as  a matter  of  course,  great  confidence  in  their  capabilities,  and 
think  the  most  effective  method  of  recommending  them  is  to  say  they  are 
sent  on  a ten  days’  trial. 

For  landscape  viewing,  it  is  a well-conceded  fact  that  there  is  nothing 
better  than  a Single  Achromatic  Lens,  as  the  expression  of  perspective  is 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


3 


natural,  and  it  gives  exceedingly  uniform  definition.  We  have  seen  many 
landscape  pictures  made  with  them  which  were  all  that  could  be  asked  for  by 
the  most  critical ; also  many  interiors,  and  even  portraits,  which  were  in 
themselves  gems  ; but  by  the  curving  of  straight  lines  on  the  outer  edge  of 
the  picture  they  are  unfit  for  this  latter  class  of  work.  The  same  curving 
occurs  in  landscape  views,  but  as  the  works  of  nature  are  not,  as  a rule,  com- 
prised of  straight  lines,  the  distortion  is  uunoticeable. 


PLATES. 

On  this  subject  we  might  repeat  the  substance  of  our  remarks  on  the 
selection  of  a high  grade  of  lens,  and  thus  express  our  sentiments.  Our  advice 
is,  buy  none  but  those  of  acknowledged  standard,  unless  warranted  by  houses 
in  which  you  have  the  utmost  confidence,  as  there  is  no  article  sold  which  the 
purchaser  buys  so  much  on  his  faith  in  the  seller  as  this.  If  you  are  success- 
ful with  a brand  avoid  changing,  unless  you  wish  to  experiment. 


DEVELOPING  OUTFITS  AND  DEVELOPERS. 

For  those  who  possess  the  knowledge  or  have  a friend  to  advise  them,  the 
preferable  way  is  to  select  such  chemicals  and  accessories  as  judgment  dic- 
tates to  answer  your  purpose. 

Any  of  the  standard  formulas  for  development  will  px’oduee  most  any  re- 
sult which  can  reasonably  be  desired,  and  the  wise  will  adhere  to  a formula 
which  they  understand  working  with  success. 


SILVER-PRINTING  AND  PRINTING  OUTFITS. 

The  printing  and  toning  of  a picture  will  probably  be  found  more  perplex- 
ing to  the  beginners  than  all  the  other  manipulations  combined  ; but  it  is  one  of 
the  most  fascinating,  and  it  is  therefore  commendable  to  the  amateur  to 
practise  this  interesting  branch,  if  he  has  the  time  in  which  to  do  it  at  his  com- 
mand. 

The  bare  necessary  articles  for  printing  from  a negative  are,  a printing- 
frame,  sensitized  paper,  toning  solution,  and  Hyposulphite  of  Soda  ; dishes  in 
ordinary  domestic  use  can  be  made  to  answer  the  purpose,  but  those  made 
for  this  purpose  are,  as  a matter  of  course,  more  convenient. 


BLUE  PRINTS. 

Printing  by  using  the  Ferro-Prussiate  Paper  is  a most  convenient  and  sim- 
ple method  of  making  proofs  of  negative  ; in  fact,  many  have  whole  collections 
made  by  this  process,  and  are  admired  not  only  for  their  novelty,  but  their 
beauty.  A printing-frame  and  paper  are  all  that  is  necessary  to  make  these 
prints  from  the  negative.  The  only  thing  to  be  done  after  the  print  is  taken 
from  the  frame  is  to  thoroughly  wash  in  water. 


4 


AMATEUR  OUIDE  IN  PHOTOORAPHY. 


In  the  foregoing  advice  it  will  be  noticed  that,  in  apparatus,  only  the 
goods  manufactured  by  the  Company  bearing  my  name  are  recommended. 

Notwithstanding  this,  I have  sought  to  advise  honestly,  as  I believe  the 
goods  designed  and  manufactured  or  sold  by  The  Blair  Camera  Co.  to  be  the 
best,  otherwise  I would,  as  the  Company’s  Manager,  aim  to  adopt  the  better 
designs. 

Unprejudiced  advice  cannot  therefore  be  sought  of  one  occupying  the 
position  which  I do. 

The  Blair  Camera  Co.  (and  of  course  myself  as  well)  are  in  business, 
with  the  usual  hope  of  reward ; and  we  believe  the  surest  and  safest  means  of 
gaining  this  is  to  deal  honestly  and  frankly,  and  aid  you  in  deriving  the 
greatest  amount  of  profit  from  your  equipment  possible  ; regardless  whether 
you  have  followed  the  advice  given,  or  that  of  a friend  who  has  chosen 
goods  other  than  those  here  recommended. 


THE  PICTURE. 

The  foreground  should  be  somewhat  bold  and  rough,  possessing  strong 
contrast,  harmoniously  blending  with  the  distance,  and  should  be  balanced 
either  on  one  side  or  the  other  (and  sometimes  both)  by  objects  rising  much 
above  the  horizontal  line,  and  even  filling  up  the  entire  space  of  that  portion 
of  the  picture.  In  this  you  must  be  governed  by  the  general  arrangement  of 
the  remaining  parts.  Marine  \dews,  as  a rule,  are  unsatisfactory,  unless  made 
instantaneously,  from  the  fact  that  the  contrasts  in  the  water  are  lost  by  its 
motion,  and  the  strength  of  distant  objects  untruthfully  weakened  by  atmos- 
pheric effect.  The  picture,  therefore,  presents  a flat,  cold  appearance,  void 
of  light  and  shade ; but  when  combined  with  strong,  bold  landscapes,  they 
become  the  most  beautiful  pictures. 

Gray  rocks,  old  logs,  stumps,  and  similar  objects  give  pleasing  contrasts, 
and  add  greatly  to  the  depth  and  brilliancy  of  othenvise  smooth  fields  and 
plains. 

Probably  the  best  subjects  for  photographic  pictures  are  such  as  old 
ruins,  churches  overgrown  with  ivy,  cottages  surrounded  with  shrubbery  and 
twining  plants,  etc.  The  new  and  bare  walls  of  a costly  residence  present 
but  little  charm  in  a picture,  except  to  relatives  and  favored  friends  of  the 
proprietor.  In  taking  a photograph  of  buildings  it  is  best  to  have  the  sun  at 
your  back,  slightly  to  your  left  or  right ; this  gives  the  front  in  strong  light 
with  deep  shadows.  Photography  in  the  field  should  seldom  be  practised 
between  the  hours  of  11  A.M.  and  2 P.M.,  as  the  position  of  the  sun  leaves  no 
shadows,  except  directly  underneath  objects.  It  is  a difficult  task  to  make  a 
picture  with  the  sun  directly  in  your  face,  for  two  reasons  : 1st.  The  sun 

striking  in  the  lens  will  cause  a reflection,  which  will  so  diffuse  the  image  as  to 
“ fog”  the  plate  and  also  produce  what  is  jjhotographically  called  a “ ghost.” 
2d.  You  get  in  your  picture  the  dark  side  of  all  objects  which  should  be  most 
prominent,  and  thereby  lose  detail  in  them,  besides  being  likely  to  produce  a 
flat,  unartistic  picture  as  a result.  As  a rule,  the  best  effects  are  obtainable 
when  the  sun  is  about  two  hours  from  the  meiidian,  and  is  to  your  right  or 
left ; the  shadows  are  then  strong  and  brilliant,  the  sweeping  cross-lights  add 
to  the  pei’speetive  and  give  “snap”  and  vigor  to  the  picture,  which  you  are 
not  likely  to  get  with  the  sun  at  the  meridian  or  at  your  back.  The  choice 
in  position  from  which  to  take  the  picture,  and  the  illumination,  are  the  chief 
points  in  landscape  photography,  and  in  these  the  taste  of  the  operator  will 


AMATEUR  GUIDE  IN  PEOTOGRAFHY. 


5 


show  most  prominently,  and  characterize  his  works  with  a less  or  greater 
degree  of  excellence.  Take  plenty  of  time,  and  exert  your  limbs  to  find  the 
point  favoring  it  most.  Objects  which  do  not  harmonize  with  the  character 
of  the  scene  had  better  be  avoided,  or,  if  convenient,  removed.  A small  twig 
very  near  the  camera  may  turn  out  to  be  a “ mighty  log  ” in  the  picture.  At 
this  stage,  and  before  leaving  the  subject,  I will  give  you  verbatim  a few 
rules  taken  from  a “Treatise  on  Photography,”  by  Capt.  W.  DeW.  Abney, 
which,  he  says,  should  be  observed  in  the  composition  of  a picture,  though  it 
must  never  be  forgotten  that  a rigid  adherence  to  them  at  all  tunes  is 
impossible  : — 

1.  If  the  object  of  interest  be  in  the  foreground,  its  base  should  occupy 
a position  of  from  ^ to  J the  height  of  the  picture ; if  it  be  in  the  dis- 
tance, its  base  should  be  about  J way  up  the  picture. 

2.  In  a general  landscape  the  horizon  lines  should  occupy  a position  about 
J way  from  the  top  or  the  bottom  of  the  picture  ; with  the  latter  a cloud 
negative  will  probably  be  required. 

3.  It  is  advisable  that  the  general  line  of  a picture  should  run  a diagonal 
or  take  a pyramidal  shape. 

4.  A long,  obtrusive  line  should  never  be  pemiitted  to  intersect  the 
picture  ; it  should  be  broken  up  as  far  as  possible. 

5.  A picture  should  never  be  cut  in  two  by  a dark  object  against  a light 
background,  or  by  a light  object  against  a dark  background. 

6.  If  the  general  features  of  a picture  have  a wedge-like  form,  care 
should  be  taken  that  the  wedge  is  supported  near  the  point,  in  order  to  give 
the  idea  of  stability. 

7.  The  general  lines  of  a picture  should  be  balanced  by  opposing  lines, 
for  the  same  reason  as  that  given  in  Rule  6. 

8.  A large  patch  of  one  approximately  uniform  tint  is  distasteful  to  the 
eye,  and  should  be  broken  up  if  possible. 

9.  ‘The  object  of  interest  should  be  pictorially  focussed  by  a general 
sweep  of  light  (if  it  be  a dark  object) , or  of  shadow  (if  it  be  a light  object) , 
thus  causing  the  eye  to  fall  naturally  upon  it. 

10.  Avoid  monotony,  whether  in  constant  repetition  of  lines,  lights,  or 
shades,  and  never  allow  a picture  to  be  symmetrical  on  the  right  and  left  of 
its  centre.  A repetition  of  a high  light  once  or  twice  in  a loioer  tone  is,  how- 
ever, much  to  be  recommended. 

The  inexperienced  operator  must  not,  in  his  first  attempts,  expect  to  pro- 
duce results  equal  to  the  student  of  years,  who  has  met  with  many  failures 
before  gaining  his  present  knowledge  of  chiaro-oscuro  and  power  of  trans- 
forming the  scene  before  bun  into  a composition  which  will  give  the  most 
pleasing  results,  but  should  study  the  points  wherein  his  pictures  excel  yours, 
and  in  your  next  efforts  adopt  such  as  will  assist  you.  Neither  should  he  feel 
discouraged  should  he  meet  with  failures.  In  photography  such  will  always 
occur,  and  the  most  advisable  course  is  to  “ try  again,”  and  find  out,  if  pos- 
sible, the  cause  of  your  ill-luck. 

I have  here  given  a very  brief  outline  of  the  rules  and  principles  by 
which  you  may  be  aided.  For  those  desiring  further  information  and  deeper 
study  I cannot  do  better  than  to  refer  them  to  the  excellent  work  of  H.  P» 
Robinson,  entitled  “Pictorial  Effect  in  Photography.” 


6 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


PHOTOGRAPHING  INTERIORS. 

One  of  the  great  difficulties  in  this  class  of  work,  especially  private  apart- 
ments and  rooms  of  limited  dimensions,  is  in  getting  sufficient  distance  to 
embrace  the  combining  points  of  interest, — for  instance,  a drawing-room  or 
library  of  about  equal  dimensions : on  one  side  rises  the  ornamental  mantel 
with  corresponding  furniture  arranged  at  its  foot ; opposite  is  the  richly-draped 
window,  on  each  side  of  which  hangs  the  family  portraits  ; at  the  further  end 
is  the  bay-window,  the  draperies  of  which  are  dark  brown.  Bathed  in  sun- 
light, streaming  in  the  windows  from  the  right,  are  white  marble  statues. 
Here  we  have  the  most  brilliant  contrasts,  and  to  the  eye  presents  a hand- 
some scene ; but  can  it  be  photographed  as  such  ? Let  us  refer  to  the 
camera.  The  first  and  about  the  only  visible  objects  are  the  window  statues 
and  streaming  sun ; all  others  are  in  the  darkest  shade.  To  attempt  to  take 
both  sides  (which  are  of  equal  importance),  we  get  only  the  farther  end  of 
each,  owing  to  the  inability  of  our  lens  (which  cannot  turn  around  with  its 
eye  as  do  we) . But  let  us  try  a plate  ; the  right  time  for  exposure  being 
decided  upon,  we  govern  ourselves  accordingly,  and,  when  completed,  we 
retreat  to  our  dark-room  and  commence  development ; the  developer  is  on 
but  a short  time  before  the  window  flashes  out  bold  and  strong,  continuing  to 
grow  more  intense  ; and  when  sufficient  detail  has  been  obtained  in  the  darker 
parts  it  has  changed  to  an  opaque  mass.  The  reasons  are  plain.  While  the 
interior  required  the  prolonged  exposure  suggested  under  that  heading,  the 
small  views  seen  through  the  window  required  only  sufficient  for  a landscape^ 
and  was  therefore  overtimed  a hundred  times  or  more,  and  in  printing  M'ould 
be  but  a white  mass,  while  the  interior  might  have  suffered  even  from  under- 
exposure. This  is  photography  at  random.  Now  let  us  proceed,  and  with 
manipulation  (which  only  care,  judgment,  and  experience  can  best  teach) 
attempt  to  overcome  the  deficiencies  of  “ our  art,”  and  make  the  best  of  our 
limited  quarters.  1st.  As  we  cannot  take  the  whole  of  the  room  in  one 
picture,  let  us  make  two  ; by  so  doing  we  get  both  sides  in  full,  which  will 
bring  the  bay-window  near  one  corner  of  the  picture.  We  therefore  place 
the  camera  at  one  side  of  the  room,  or  maybe  the  opposite  corner,  arrange 
our  furniture  with  care,  having  no  very  large  objects  in  front  of  the  camera  ; 
next  close  the  blinds  to  the  windows  in  front  (the  bay)  and  darken  with  black 
material,  being  careful  that  no  light  streaks  show.  The  bay-window  is  now 
enveloped  in  shade,  as  are  also  the  statues,  and  the  light  is  from  only  one 
source,  namely,  the  window  at  the  side  (should  the  sun  be  shining  in  this 
also  it  might  be  advisable  to  draw  down  the  light  shade) . Less  light  being 
admitted  into  the  room,  we  will  now  lengthen  our  exposure  accordingly ; the 
exposui’e  having  been  made,  we  recap  the  lens,  carefully  remove  the  dark 
material,  open  the  shutters,  and  expose  just  sufficient  for  a landscape  under 
like  circumstances.  Upon  development  we  find  that  the  interior  and  exterior 
develop  in  harmony,  and  although,  when  printed,  the  latter  will  be  lighter, 
still  the  stronger  outlines  of  the  landscape  are  not  lost.  This  is  one  of  the 
“ tricks,”  and  serves  to  show  that  photography  is  not  capable  of  embracing 
all  that  the  eye  observes  without  the  aid  of  artifice.  By  these  means,  and  by 
a little  careful  study  and  thought,  very  pretty  effects  can  be  obtained.  Great 
care  must  be  taken  not  to  jar  the  instrument  in  capping  and  uncapping  the 
lens,  as  it  will  make  a double  impression  of  the  lighter  objects.  Corners  and 
dark  parts  of  the  room  should  be  illuminated  as  the  means  at  hand  will 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


7 


best  allow,  also  heavy  shadows  where  detail  is  wanted.  A mirror  can  often 
be  used  to  good  advantage  in  reflecting  light  into  such  places,  keeping  the 
reflector  moving  so  as  to  leave  no  outlines  of  it.  If  individuals  are  to  be 
included,  let  them  be  placed  a good  distance  from  the  camera,  and  assume 
some  easy  position  in  which  they  are  the  least  likely  to  move. 


GROUPS. 

There  is  no  branch  of  photography  which  offers  more  opportunities  for 
passing  a pleasant  hour  with  familiar  souvenirs  as  a result  than  this ; the 
excellence  of  which  will  depend  largely  on  the  operator,  subjects,  and  artistic 
treatment  thereof.  It  is  one  on  which  much  has  been  and  can  be  written, 
more  authentic  and  interesting  than  anything  original  from  my  pen.  I will, 
therefore,  again  refer  you  to  the  work  of  Mr.  Robinson,  pp.  93-98. 


PORTRAITURE. 

When  the  amateur,  possessing  only  the  facilities  usually  at  hand  in  ordi- 
nary lighted  rooms,  attempts  to  make  portraits  which  will  equal  those  made  by 
the  professional  in  points  of  effective  posing,  lighting,  and  arrangement  of 
accessories,  he  will  doubtless  be  disappointed  in  the  results  of  his  efforts ; 
but  if  he  aims  to  produce  pictures  simple  in  arrangement,  truthful  in  point 
of  likeness,  and  possessing  originality  of  treatment,  photography  offers  a field 
which  is  sufficiently  extensive  for  the  full  play  of  the  most  ambitious  in  this 
direction. 

It  is  quite  impracticable  to  give,  in  this  treatise,  directions  which  will  enable 
the  beginner  to  at  once  produce  pictures  which  are  likely  to  meet  with  the 
approval  of  the  critical ; but  I trust  that  a few  suggestions  and  simple  rules, 
here  added,  will  aid  many  to  repeat  their  efforts  and  study  until  they  can  even 
excel  the  production  of  the  professional  photographer,  especially  from  an 
artistic  point  of  view. 

Until  the  operator  has  had  sufficient  practice  to  judge  of  the  style  of  back- 
ground most  in  keeping  with  the  face  or  figure  he  is  to  photograph,  it  is  the 
best  plan  to  adhere  to  as  plain  a surface  as  can  be  had ; the  soft,  neutral  tints 
of  a plain  wall  are  well  suited  for  this  purpose.  If  figured  backgrounds  must 
be  used,  the  subject  should  be  placed  some  distance  from  them,  so  that  the 
background  will  be  out  of  focus  and  appear  indistinct,  and  thus  softer  in  the: 
picture. 

One  great  difficulty  which  will  be  encountered  in  “ Portraitiu'e  at  Home  ”■ 
will  be  found  to  be  heavy,  deep  shadows,  especially  so  in  rooms  lighted  only 
from  one  side,  or  in  those  furnished  or  draped  with  dark  material ; therefore, 
reflectors  will  be  found  necessary  on  the  shaded  sides  of  the  faces.  These 
must  be  used  with  care,  and  should  not  be  placed  too  near  the  subject,  or  the 
direct  reflection  will  be  noticeable. 

The  effect  of  the  lighting  in  the  picture  should  always  be  from  one  direc- 
tion (except  in  case  where  it  is  an  object  of  the  operator  to  show  reflected 
light) . White  papers  or  sheets  placed  on  the  floor  (in  cases  where  the  pict- 
ure is  to  be  a bust  or  half  length,  and  they  will  not  be  included  in  the 
picture),  as  well  as  placed  on  the  walls  or  chair,  on  the  shadow  side  of  the 
subject,  soften  the  shadows  very  greatly. 


8 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


Ill  making  bust  pictures  the  lens  should,  as  a rule,  be  about  on  a level 
with  the  chin.  In  fnll  or  half  length  it  should  be  somewhere  nearly  opposite 
the  chest  of  the  subject ; but  this  is  a matter  in  which  deviations  from  this 
rule  can  be  made  in  opposite  direction,  and  with  good  effect,  to  favor  different 
subjects,  as  a little  experience  will  readily  show. 

If  the  source  of  light  is  from  one  or  two  side-windows  only,  the  subject 
should  be  at  least  four  or  five  feet  from  the  window,  into  the  interior  of  the 
room,  and  a foot  or  two  beyond  the  most  distant  window. 

Regarding  the  position  of  the  subject,  the  operator  must  be  governed  by 
his  own  taste,  or  such  information  as  books  of  instruction  on  figure-drawing 
or  painting  will  give  him,  as  anything  that  I should  write  on  the  subject 
would  be  only  such  as  persons  of  ordinary  intelligence  would  put  in  practice 
from  suggestions  gleaned  in  seeing  the  human  form  in  every-day  postures. 
The  head,  figure,  or  group,  whichever  it  may  happen  to  be,  should  not  be 
made  too  large,  or  to  fill  the  plate  so  that  the  picture  looks  crowded. 

The  length  of  time  of  exposure  will  vary  in  this  class  of  work  greatly, 
and  it  is  useless  to  give  any  rule  to  follow  ; even  in  the  most  favorably  lighted 
room  the  exposure  will  require  to  be  many  times  greater  than  in  the  open 
air.  Owing  to  the  liability  of  the  subject  moving,  it  is  desirable  to  make  the 
exposure  as  short  as  possible ; therefore,  a rapid  lens  should  be  selected  for 
this  class  of  work,  and  a large-size  diaphragm  used. 

Portraits  are  most  easily  made  in  the  open  air,  as  they  can  be  instantane- 
ously exposed,  and  thus  the  liability  of  their  being  spoiled  by  the  moving  of 
the  subjects  avoided  ; but  the  results  are  likely  to  appear  flat  and  without  well- 
defined  high  lights  and  shades,  which  expresses  shape,  and  the  true  and 
characteristic  lines  of  the  features. 

Subjects  should  be  allowed  to  assume  natural  and  easy  attitudes,  and 
where  a prolonged  exposure  is  to  be  made,  positions  in  which  there  is  the 
least  liability  to  move  preferred,  other  advantages  being  equal. 

The  Flash  Light  (so  called)  has  many  advantages  for  Portraiture,  and 
will  doubtless  be  developed  very  greatly  in  this  direction  before  the  lapse  of 
many  months.  The  same  general  principles  which  are  given  to  be  followed 
when  lighting  from  a window,  hold  good  with  this  light ; but  the  advantage  of 
being  able  to  change  the  position  of  the  source  of  light  at  will  is  very  great. 

Making  exposures  with  the  so-called  “Detective  Camera”  is  rapidlj" 
growing  in  popularity,  but  evolves  no  new  methods,  therefore  requires  no 
suggestions  here  ; the  treatment  of  the  negative  after  the  exposure  being  the 
same  as  in  any  other  method  of  exposing  the  plate  in  the  camera. 


PHOTOGRAPHING  MACHINERY. 

BY  CHARLES  W.  LOWELL. 

Machinery,  upon  leaving  the  manufacturer’s  hands,  is  usually  in  a poor 
condition  to  be  photographed.  The  priming  or  glossy  paint  commonly  used, 
and  usually  of  the  most  uon-actinic  colors,  renders  a strong  contrast  between 
light  and  shade,  and  does  not  give  an  even  effect. 

If  the  machine  to  be  photographed  is  constructed  largely  of  smooth- 
finished  and  tooled  metal,  it  should  be  wiped  clean  of  any  oil  or  paint,  and 
the  unfinished  castings  painted  a mat  or  dull  gray  color,  avoiding  anything 
which  will  leave  a glossy  or  varnished  surface  to  reflect  the  high  light. 


AMATEUR  QVIDE  IN  PHOTOGRAPHY. 


9 


Machinery  made  almost  entirely  of  unfinished  castings  should  be  finished 
as  smooth  as  possible,  and  coated  with  a quick-drying  paint,  made  by  mixing 
white  lead  with  lamp-black  and  thinning  with  turpentine, — but  with  as  little  of 
the  latter  as  possible,  — aud  a small  quantity  of  Japan  as  dryer. 

The  color  should  be  of  a light  slate  or  drab,  and  present  a dead  surface 
when  dry.  Any  inequality  in  the  surface  may  be  stopped  up  or  smoothed 
over  with  putty.  Where  a machine  is  already  set  up  and  in  use,  it  may  not 
be  convenient  to  use  the  above  paint,  in  which  event  the  following  may  be 
used  as  a substitute,  which  is  easily  wiped  off : Mix  whiting  and  lamp-black 
with  sour  beer,  adding  a small  quantity  of  glue-sizing  to  give  it  body. 

Any  machine  painted  a dead  or  glossy  dead  black  will  lack  in  shadows 
and  detail  of  construction.  Bright  metal  parts  finished,  should  not  be  painted 
at  all. 

The  light  is  a very  important  matter  in  obtaining  good  views  of  machin- 
ery. Avoid  direct  sunlight  upon  any  part,  and  aim  to  get  an  even  illumination 
all  over.  Where  necessary  to  bring  out  detail  of  parts,  shaded  from  light 
above,  sheets  of  white  paper  may  be  placed  in  such  positions,  beneath  or  at 
one  side,  as  will  refiect  light  upon  the  desired  points. 

When  convenient,  a background  composed  of  white  cotton  cloth  stretched 
on  a wooden  frame  can  be  used  to  advantage,  as  it  wUl  bring  out  the  detail  and 
outline  of  entire  machine,  thereby  facilitating  the  painting-out  process,  when 
used.  Of  course,  if  the  article  to  be  photographed  is  of  a light  color,  a dark 
background  would  be  preferable. 

Oftentimes,  in  focussing  the  image,  it  is  difficult  to  find  a desirable  stand- 
point ; either  there  is  a lack  of  space  to  retire  far  enough  from  the  object,  or 
it  is  too  high.  Where  there  is  a lack  of  room,  as  in  this  case,  a wide-angle 
lens  will  be  found  most  desirable  to  use. 

However,  to  make  the  most  satisfactory  view  of  a machine  of  any  large 
proportions,  a long-focus  lens,  a size  or  two  larger  than  that  of  plate  used, 
is  desirable,  as  much  space  as  possible  being  placed  between  object  and 
camera. 

In  a machine  of  any  height  it  would  be  well  to  have  the  lens  as  nearly 
on  level  with  centre  of  machine.  Anything  low,  or  setting  close  to  the  fioor,, 
the  camera  should  be  lowered  correspondingly.  When  there  is  any  great 
length  to  machine,  avoid  too  much  of  an  angle  when  focussing  it  from  an  end, 
as  the  end  nearest  the  camera  will  be  larger  in  proportion  to  that  at  a distance 
thus  removing  the  camera  at  a distance  from  the  entire  object  gives  a more 
natural  view. 

Slow  plates,  — lens  well  stopped  down, — long  exposure,  and  moderate 
development  tend  to  produce  the  best  results  in  making  photographs  of 
machinery. 


THE  TRIPOD. 

In  field-work  all  forms  of  cameras  require  mounting  on  some  stand  or 
elevation,  to  bring  the  view  it  embraces  to  a height  corresponding  with  the 
eye,  and  to  give  ease  in  operating.  For  this  purpose  the  well-known  “ tripod  ” 
is  used.  In  it  the  features  most  desirable  are  facilities  for  adjusting  it  to  a 
proper  height,  x’igidity  when  set  up  for  use,  aud  compactness  in  transportation. 


10 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


DIRECTIONS  FOR  USING  THE  CAMERAS. 

The  process  of  adjustment  is  so  simple  that  the  subject  requires  but  little 
explanation ; but,  for  the  benefit  of  those  without  knowledge  of  its  use  and 
construction,  I append  the  following  : — 

“ In  most  all  forms  of  cameras  manufactured  at  present  the  principles  of 
attaching  the  ground  glass  and  plate-holder  is  similar,  although  they  vary  in 
the  form  of  attachment  used,  the  idea  being,  in  all  cameras,  to  firmly  adjust 
the  plate-holder  so  that  the  sensitive  plate  to  be  exposed  will  occupy  the  same 
position  as  that  occupied  by  the  ground  glass  when  the  image  was  focussed 
upon  it,  and,  at  the  same  time,  make  the  interior  of  the  camera  liglit-tight. 

“ Nothwithstanding  this,  it  may  be  found  desirable  to  explain  the  uses  of 
such  cameras  as  are  provided  with  such  improvements  and  advantages  as 
the  sliding  fronts,  the  swing  back,  and  folding-bed.  The  use  of  the  sliding 
front  is  to  enable  the  operator,  by  moving  it  up  and  down,  to  get  a greater 
or  less  amount  of  foreground  or  sky  as  he  may  wish,  rvithout  tipping  the 
camera,  which  will  cause  the  lines  on  the  outer  edge  of  the  plate  to  converge 
at  the  top  or  bottom.  The  swing  back  permits  very  near  and  distant  objects 
to  be  brought  to  a sharper  focus  by  increasing  or  duninishing  the  distance 
between  one  edge  of  the  plate  and  the  lens.  The  convergence  of  the  lines, 
as  above  described,  can  also  be  corrected  by  the  use  of  the  swing  back,  by 
swinging  the  frame  to  which  the  plate-holder  is  attached.  This  frame,  or, 
more  properly  speaking,  the  sensitive  plate,  should  stand  in  a vertical 
position. 

‘ ‘ The  folding-bed  is  added  to  make  the  camera  more  compact  for  trans- 
portation.” 


USE  OF  EXTENSIONS. 

Extensions  are  a contrivance  for  placing  the  plate  a sufficient  distance 
from  the  back  of  camera  proper  to  allow  the  ra}^s  to  spread  to  the  size  of 
plate  to  be  used  on  the  extension  ; it  will,  therefore,  be  understood  that  an 
extremely  long  or  an  extremely  sho’d  focus  lens  cannot  be  used  successfully. 

In  completing  this  adjunct  to  photographic  apparatus  it  was  not  the  idea 
of  the  inventor  to  substitute  (for  example)  a 5 X 8 camera  proper  with  an 
8 X 10  extension,  for  an  8 X 10  camera,  when  the  operator  intended  using 
8 X 10  plates  in  the  majority  of  cases,  because  it  would  be  more  desirable  to 
have  an  8 X 10  camera  proper ; but  the  idea  was  to  furnish  an  attachment  for 
the  use  of  the  operator  who  used  5x8  plates  as  a rule,  and  occasionally  de- 
sired to  use  an  8 X 10,  etc.  The  only  disadvantages  in  a camera  formed  with 
the  extension  attached  is,  that  a very  short  focus  lens  cannot  be  used  on  account 
of  the  distance  between  the  ground  glass  and  camera  front,  and  the  fact  when 
using  a very  long  focus  lens,  the  frame  of  camera  proper  prevents  the  rays 
from  the  lens  spreading  to  the  edge  of  the  plate.  To  correct  the  former  a 
recess  front  can  be  used.  The  latter  can  only  be  remedied  by  increasing  the 
depth  of  the  extension. 

We  will  now  require  to  transfer  the  sensitive  plates  into  the  plate-hold- 
ers, and,  in  order  to  enable  us  to  do  so,  we  will  require  a dark  room. 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


11 


THE  LIGHT. 

The  light  by  which  the  plates  can  be  changed  or  developed  with  safety  is 
of  a dark  ruby,  and  all  other  should  be  entirely  shut  off,  which  forms  what  is 
known  as  a “ dark  room ; ” but  this  does  not  mean  a room  with  the  door 
closed,  and  light  coming  in  through  cracks  and  openings.  For  convenience 
and  safety  I would  advise  the  novice  to  defer  removing  plates  from  the  light 
tight  box  until  after  dark,  when  by  the  aid  of  a suitable  light  the  operation 
can  be  carried  on  without  the  trouble  of  darkening  windows,  etc.,  unless  a 
very  strong  light  is  outside,  in  which  case  closing  blinds  or  drawing  shades 
will  be  found  safe.  Electric  light  must  be  guarded  against  with  great  care. 

To  test  the  actinic  power  of  your  light,  take  an  unexposed  plate  and  cover 
one-half  with  some  opaque  substance,  and  place  the  uncovered  part  before  the 
source  of  light,  so  as  to  get  the  benefit  of  its  strongest  rays  for  one  or  two 
minutes,  and  then  develop  the  whole  plate.  If  the  actinic  rays  have  not  been 
fully  filtered  out,  the  exposed  part  will  darken  while  the  other  will  remain  un- 
changed. 

Ha-sdng  become  satisfied  on  the  safety  of  the  light  in  the  room,  proceed 
to  open  the  package  of  plate,  and  place  them  in  the  Plate-holders.  (See 
Article  on  the  Gelatine  Bromide  Plate,  page  14.) 

As  the  easiest  and  proper  method  of  filling  and  emptying  a Plate-holder 
may  not  be  at  once  apparent,  the  following  instructions  are  given  : — 

‘ ‘ To  fill  the  Blair  Patent  Double  Dry  Plate  Holder  remove  the  slides  and 
the  locking  block  which  occupies  the  space  between,  and  pull  out  the  movable 
bars  separately  (or  together,  as  desired) , until  the  outer  edge  of  the  bar  rests 
against  the  inner  portioir  of  the  Stop.  By  this  means  the  opening  in  the 
holder  is  enlarged  an  eighth  of  an  inch.  Next  place  one  end  of  the  plate, 
■film  side  outward.,  underneath  the  projection  in  the  opposite  end  of  the  holder, 
when  by  pressing  the  plate  against  the  spring  on  the  dmsion-board  until  the 
outside  of  the  plate  is  below  the  inside  of  the  projection  of  the  movable  bar, 
the  latter  can  be  pushed  down  into  its  former  position,  which  will  hold  the 
plate  securely  in  position  by  the  projection  of  the  holder  overlapping  the  re- 
spective ends  of  the  plate,  and  the  metallic  spring  pressing  the  same  forward. 
To  fill  the  other  side  the  operation  is,  of  course,  repeated.  The  locking  block 
and  slides  are  then  replaced,  and  the  holder  is  secured  against  an  accidental 
shake  opening  it.  In  pressing  the  plate  down  while  filling  the  holder  the  hands 
should  not  touch  the  film,  the  back  of  the  finger-nail  or  a dry  handkerchief 
answering  the  purpose  best.  Smaller  plates  are  used  by  sliding  it  into  the  coi'- 
responding  size  of  nest,  and  the  latter,  with  the  plate  in  it,  is  placed  into  this 
holder  as  though  a full-sized  plate.” 


THE  FEATHER-WEIGHT  PLATE-HOLDER. 

(WITHOUT  BACK  SPRINGS.) 

This  Holder  being  very  compact,  and  the  thickness  of  glass  varying  so 
exceedingly,  the  springs  usually  employed  on  the  dividing-board  to  keep  the 
plate  pressed  tightly  to  the  front  is  not  supplied ; only  sufficient  space  having 
been  allowed  to  accommodate  the  thickest  plate  likely  to  be  used.  In  using 
thinner  ones,  a slight  bedding  of  soft  paper  may  be  placed  in  the  holder,  and 
in  pressing  the  plate  down  it  will  be  found  that  the  paper,  acting  in  combina- 
tion with  the  pliable  division-board,  forms  a very  admirable  spring  or  cushion. 


12 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


To  fill,  draw  the  slide  of  the  Holder  and  place  on  end  (the  end  from 
which  the  slide  is  drawn  being  npward),  put  oiie  end  of  the  plate  in  the  down- 
ward end  of  the  Holder,  under  the  projecting  corner  ; next,  if  deemed  desir- 
able, place  the  tuft  of  paper  bedding  to  hold  the  plate  out  (as  before  described) , 
press  the  plate  down  until  it  rests  against  the  ledge,  and  turn  back  the  narrow 
cloth  flap ; replace  the  slide,  and  all  is  ready. 

After  putting  into  the  holders  as  many  plates  as  are  likely  to  be  needed 
for  a day’s  work,  pack  the  outfit  so  that  it  can  be  conveniently  carried  about. 

To  remove  the  plate,  draw  the  slide,  turn  up  the  cloth  flap,  and  while  the 
Holder  is  on  end,  inclined  face  downward,  give  it  a slight  thump  on  the  knee 
(or  something  not  liable  to  bruise  the  holder) , and  the  plate  will  fall  into  the 
hand.  This  is  accomplished  by  the  plate  springing  downward  below  the  cloth 
flap. 

Feather-weight  Holders,  which  are  supplied  with  back  springs,  have 
beneath  the  cloth  flap  a projection  under  which  the  plate  rests  after  being- 
pressed  down  as  described.  Holders  with  springs  are  necessarily  thicker  than 
those  without  springs. 

With  the  foregoing  directions,  holders  of  other  styles  can,  I think,  be 
readily  understood. 

The  Holder  known  as  the  “ English”  opens  after  the  form  of  a book,  the 
plate  being  placed  in,  and  the  holder  closed  and  fastened. 

DIAPHRAGMS,  OR  STOPS. 

The  revol-ving  disc,  or  strips  of  brass,  having  different-sized  openings, 
and  placed  before  the  lens,  in  single  lenses,  and  between  the  lens  in  combina- 
tion lenses,  in  the  mount,  are  called  diaphragms,  or  stops,  and  are  often  the 
cause  of  much  perplexity  to  the  amateur.  His  first  supposition  (and  a very 
natural  one,  too)  is  that  the  smaller  opening  is  for  smaller  pictures  and  the 
larger  one  for  larger  pictures,  when  the  rule  is  to  the  contrary,  as  I will  en- 
deavor to  explain. 

By  taking  a lens  and  placing  it  in  an  open  tube,  corresponding  with  its 
size,  an  image,  flooded  with  light,  will  be  found  on  the  ground  glass,  but 
almost  entirely  without  sharpness  or  definition,  more  especially  at  the  edges 
and  corners  of  the  plate,  the  latter  caused  by  the  curvature  of  the  glass  in  the 
lens.  It  will  also  be  found  that  distant  and  near  objects  cannot  be  brought 
to  any  degree  of  sharpness  at  the  same  distance  of  the  ground  glass  from  the 
lens.  By  placing  a diaphragm,  or  stop,  before  it,  the  equality  of  sharpness 
in  distant  and  near  objects  is  increased,  as  is  also  the  definition  in  the  edges 
and  coi-ners  ; and  it  will  be  further  seen  that  the  smaller  the  stop  the  greater 
this  increase  in  definition.  This  is,  however  (as  might  be  expected),  at  the 
expense  of  the  light  on  the  plate,  and  necessitates  longer  exposure.  For 
landscapes  and  general  work  the  medium  stop  should  be  used  ; when  the  light 
is  very  intense,  and  very  fine  definition  is  desired,  the  smallest  can  be  used. 
The  largest  is  desirable  when  there  is  but  little  illumination,  or  short  exposure 
is  required  on  account  of  moving  objects,  or  for  instantaneous  work. 


PREPARING  TO  TAKE  THE  PICTURE. 

For  field-service  a camera,  a number  of  plate-holdei’S  filled  with  sensitive 
plates,  a lens,  tripod,  carrj'ing-case,  and  focussing  cloth  are  needed.  'When 
these  have  been  taken  to  a place  where  the  view  looks  im-itiug,  fasten  the 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


13 


camera  on  the  tripod,  throw  the  focussing-cloth  over  your  head,  gather  it  under 
your  chin,  draw  out  the  camera,  thus  extending  the  bellows,  and  continue  the 
movement  until  the  image  on  the  ground  glass  appears  most  distinct ; then 
fasten  the  back  of  the  camera.  This  is  called  “focussing.”  At  the  first 
glance  an  inexperienced  person  sees  no  reflection  on  the  ground  glass,  but  the 
eye  soon  becomes  practised  to  perceiving  the  inverted  image  there. 

When  the  image  has  been  satisfactorily  focussed  tighten  the  clamping- 
screw,  cap  the  lens;  remove  the  ground-glass  frame,  and  in  its  place  ad- 
just a plate-holder,  draw  the  inner  slide,  and  expose  the  plate  by  uncapping 
the  lens.  The  nearer  the  camera  is  brought  to  the  object  to  be  photographed 
the  farther  the  camera  bellows  will  need  to  be  extended  to  obtain  a sharp 
image  ; thus  it  is  difficult  to  get  two  objects,  one  of  which  is  very  near,  and 
the  other  far  distant,  in  focus  on  the  same  plane. 

Careful  and  accurate  focussing  will  repay  you,  as  clear  definition  cannot 
be  obtained  without  it. 

In  instantaneous  work  the  focus  must  be  Obtained  upon  the  spot  where 
the  object  is  expected  to  pass,  with  a large  diaphragm,  or  the  full  aperture  of 
the  lens,  before  the  time  comes  for  taking  the  picture.  Then,  by  looking 
along  the  sides  of  the  camera,  or  a pair  of  sights  on  top  of  it,  or  by  a finder, 
you  will  see  when  the  object  has  reached  the  middle  of  the  view,  and  will 
release  the  instantaneous  shutter. 

When  operating  in  strong  sunlight,  all  cameras  of  whatever  style  or 
manufacture  should  be  protected  by  having  the  focussing-cloth  thrown  over 
them,  most  especially  when  the  plate-holder  is  attached  and  the  slide  has  been 
drawn.  By  taking  this  simple  precaution  you  may  save  a valuable  plate, 
which  might  otherwise  be  ruined. 

When  you  wish  to  make  another  exposure  the  holder  is  to  be  turned  over, 
and  the  plate  in  the  opposite  side  exposed  in  a like  manner.  It  is  very 
important  to  keep  a memorandum  of  time  of  exposure,  subject,  number  of 
plate-holder,  etc. ; and,  if  more  than  one  plate-holder  is  used,  they  should  be 
numbered  in  some  legible  and  permanent  manner,  the  first  holder  one  and  two, 
the  second  three  and  four,  and  so  on.  It  is  exceedingly  annoying,  while  de- 
veloping your  plates,  to  find  two  of  your  most  valued  subjects  consolidated 
into  one,  from  having  exposed  the  same  plate  twice.  The  registering  slides, 
which  are  part  of  the  plate-holder,  form  an  admirable  and  convenient  means 
of  avoiding  all  such  occurrences. 

COLORS  PHOTOGRAPHIC. 

If  there  is  any  one  characteristic  in  photography  which  prevents  it  from 
being  a truthful  portrayer  of  nature  more  than  another  it  is  the  different  effect 
which  colors  have  on  the  chemicals.  For  instance,  yellow,  orange,  red,  and 
those  of  a like  tint  are  the  most  non-actiuic  ; blue,  and  its  associate  color, 
the  least.  Now,  in  representing  colors  in  a drawing,  we  would  naturally  indi- 
cate yellow,  orange,  etc.,  as  much  lighter  than  blue;  but,  m photography, 
yellow  will  be  represented  as  almost,  if  not  wholly,  black,  while  blue,  etc.,  the 
direct  opposite  ; therefore,  in  making  the  exposure  in  the  camera,  it  is  well 
to  note  the  prevailing  colors,  and  govern  yourself  accordingly. 

EXPOSURE. 

In  this  depends  largely  the  success  of  your  undertaking,  and  here  your 
judgment  must  be  used  to  a large  extent.  As  no  two  landscapes  are  exactly 


14 


AMATEUR  GUIDE  IM  PHOTO GRAPHT. 


alike,  and  the  same  landscape  on  two  successive  days  may  perhaps  reqim-e 
different  exposures,  it  is  impossible  to  make  positive  rules. 

Near  ^■iews,  groups,  and  machinery  requu'e  much  longer,  often  triple,  ex- 
posure, when  placed  under  the  same  volume  of  light  as  that  of  the  landscape 
just  mentioned,  and,  of  course,  when  the  light  is  less,  as  in  a budding,  it  must 
be  lengthened  accordingly.  For  interiors  there  is  but  little  danger  of  over- 
exposmc.  "Where  you  woidd  require  one  second  for  a landscape,  a moder- 
ately well-lighted  interior  woidd  require  from  two  to  three  minutes,  oudng  to 
the  difference  of  light. 

Always  bear  in  mind  the  fact,  that  if  we  give  274  minutes  when  25  would 
have  sufficed,  we  have  overtimed  oidj*  in  proportion  to  giving  11  seconds  when 
10  was  the  uirmber  requued.  Wlreu  photographing  in  deep,  dark  ra^dues 
lengthen  the'exposme  according  to  yorrr  judgment,  especially  when  the  pre- 
vading  colors  are  of  a non-actinic  nature. 

The  ‘‘  exposirre”  is  made  by  rrncovering  the  lens  to  admit  the  idews  to 
be  transferred  to  the  sensitive  plate  ; by  whatever  means  that  is  done,  the 
camera  shordd  be  jarred  as  little  as  possible.  This  is  as  far  as  I am  able  to 
assist  you,  and  the  rest  must  be  gained  by  experiments.  In  making  these,  if 
yorr  are  doirbtful  about  the  proper  time  requh'ed,  expose  two  or  three  different 
plates,  varying  the  time  one-half.  In  fact,  this  is  advisable  for  the  beginner. 

The  exposures  having  been  completed,  the  plate  can  be  kept  for  a con- 
venient time  and  place,  for  development. 


THE  GELATINE  BROMIDE  PLATE 

Is  a film  of  gelatine  made  sensitive  to  the  action  of  light  by  bromides  and 
niti’ate  of  sdver,  supported  by  glass,  winch  is  used  because  of  its  firmness  and 
allowing  the  light  to  pass  thi-ough  unobstructed.  The  side  of  the  glass  on 
which  the  film  is  can  be  discerned  by  being  of  a mat  appearance  : if,  however, 
there  is  doubt  as  to  which  is  the  film  side,  appU’  a knife  to  one  corner,  and 
the  film  will  scratch  off. 

When  exposed  to  the  image  in  the  camera,  the  lighter  parts  are  acted 
upon  most  rapidly,  the  half-tone  less,  and  the  extreme  shade  but  little,  and 
sometimes  not  at  aU.  Upon  the  application  of  the  developer,  where  the 
light  has  acted,  a deposit  is  formed  over  the  entire  surface,  the  greater  the 
action  of  the  light  the  greater  the  deposit;  therefore,  when  fixed,  we  have  a 
semi-transparent  picture,  the  opaque  parts  representing  the  high  lights,  the 
more  transparent,  the  half-tones  and  shadows.  Supposing  we  had  developed 
this  plate  without  exposure  in  the  camera,  no  image  would  have  appeared,  the 
plate  remaining  unchanged.  Upon  fixing,  we  have  apparently  a plain  glass  as 
a result.  Again,  supposing  we  had  exposed  the  plate  to  actinic  light,  the 
entire  surface  is  acted  upon,  and  when  the  developer  is  applied,  a deposit  is 
fonned  over  it,  causing  the  plate  to  turn  a dark  brown,  and,  when  fixed, 
remain  opaque. 

In  the  use  of  “negative  papers”  or  “films”  the  process  is  the  same, 
excepting  that  the  support  for  the  image  is  of  other  substance  than  glass,  to 
economize  in  weight  and  liability  of  breakage. 

Owing  to  the  successful  manipulation  of  this  film  being  more  difficult 
than  with  glass  plates,  I would  advise  the  beginner  to  commence  his  operations 
with  the  latter,  even  if  the  additional  weight  does  enforce  some  little  incon- 
venience. 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


15 


DEVELOPING. 


THE  DARK-ROOM,  OR  PLACE  OF  OPERATION. 


(*S'ee  remarks  on  Light,  page  11.') 

The  surroundings  of  the  operator  will  govern  largely  where  this  will  be, 
or  how  constructed.  When  at  home,  the  bath-room,  kitchen-sink,  or  like  con- 
venient place  is  most  desirable.  When  in  the  woods,  if  not  too  strong,  moon- 
light, and,  in  suitable  weather,  sitting  beside  a brook,  is  to  be  recommended  ; 
in  fact,  it  is  really  one  of  the  most  convenient  as  well  as  poetic  situations. 
The  principal  points  to  be  considered  are  plenty  of  cool  water,  protection  from 
actinic  light,  and  a suitable  surface  on  which  to  set  your  utensils,  with  noth- 
ing damagable  underneath,  and  perfect  order  and  cleanliness.  It  is  useless 
to  add  that  a room,  with  appliances  arranged  especially  for  this  purpose,  which 
can  be  used  night  or  day,  is  much  the  more  desirable,  especially  so  to  busi- 
ness firms  or  corporations  who  desire  to  make  negatives  at  all  times,  and  to 
see  at  once  the  results.  To  those  who  can  equip  themselves  with  such  facili- 
ties we  append  the  following  suggestions  : — 

“Where  possible  it  is  best  to  have  a good-sized  closet,  or  room,  with 
walls  and  ceiling  plastered  and  painted  or  tinted  a dark  color.  Entrance 
should  be  had  by  double  doors,  forming  a vestibule  between,  so  that  upon 
opening  the  outer  door  you  step  into  a vestibule  ; closing  the  first  door  after 
you,  open  the  inner  door,  which  admits  you  direct  to  the  dark-room.  With 
this  arrangement  you  can  enter  or  leave  the  dark-room  when  development  or 
any  manipulation  is  being  carried  on,  without  admitting  any  outside  light. 

“ A closet  can  be  made  of  thin,  matched  sheathing,  in  most  any  place  ; 
and,  after  being  painted  dark  on  inside,  as  a double  safeguard,  it  should  be 
papered  with  black  or  ruby  paper,  light  often  entering  where  the  sheathing 
shrinks.  The  paper  should  not  be  pasted  or  glued  on,  merely  tacked  in  a 
smooth  manner. 

‘ ‘ The  dark-room  should  be  ventilated  in  some  manner  without  admitting 
any  light. 

“The  best  light  for  a dark-room  is  taken  through  a window  from  out- 
of-doors.  The  casing  of  window'  should  be  made  light-tight,  and  frame  covered 
either  wdth  a ruby  or  yellow  post-office  paper,  in  several  thicknesses ; or,  have 
one  or  two  thicknesses  permanent  and  several  frames  covered  with  the  paper, 
which  can  be  inserted  in  the  casing,  enabling  the  operator  to  have,  at  w'ill,  a 
weak  or  strong  light. 

“ When  daylight  is  not  possible  a large  lantern,  arranged  to  take  tw'o  or 
three  lights  of  rnby  or  orange  glass,  can  be  used,  both  to  illuminate  the  room 
and  for  development. 

“ A good  supply  of  pure  water  is  an  absolute  necessity,  and,  where  unob- 
tainable from  city  service,  a large  tank  or  barrel  can  be  placed  above  the  sink, 
using  a pipe  or  tube  with  stop-cock.  A wooden  sink,  painted  inside,  w^hen 
kept  clean,  is  preferable  to  any  other.  Have  plenty  of  shelf-room,  conven- 
iently arranged,  a place  for  everything,  so  that  you  can  find  anjffhing  at  once, 
even  in  the  dark.” 


16 


AMATEUR  GUIDE  IN  PEOTOGRAPEY. 


CHEMICAL  SOLUTION. 

When  a reliable  developer  can  be  obt^,ined  ready  for  use,  it  is  generally 
more  satisfactory  to  procure  the  article  than  the  chemicals,  and  have  the 
trouble  of  mixing. 

I give,  however,  a complete  formula,  so  that  the  operator  may  make  his 
choice. 

(Instructions  for  using  the  commercial  article  are  usually  supplied  with  it.) 

Make  solutions  as  follows  : — 


Pyrogallic  Acid  ..... 

Sulphite  of  Sodium  Crystals 
Sulphuric  Acid,  C.P. 

Water  ....... 

IL  oz. 

. 6 oz. 

20  to  30  drops. 
80  oz. 

Label  it.  Stock  Solution  No.  1. 

Carbonate  of  Sodium  .... 

6 oz. 

Water  . . 

80  oz. 

Bromide  of  Potassium  .... 

15  grains. 

Label  this.  Stock  Solution  No.  2. 

Filter  both  solutions  and  keep  in  corked  bottles. 

When  ready  for  %ise 

mix  equal  parts  No.  1 and  No.  2,  using,  for  a 5 X 8 plate,  about  four  ounces 
of  the  mixed  solution.  Larger  and  smaller  size  pro  ratio,  enough  to  cover  the 
plate  fully  is  always  required. 

“ Keep  all  solutions  as  cool  as  possible,  and  well  corked.” 

A larger  portion  of  pyrogallic  acid  in  the  developer  increases  the  density 
of  the  negative,  a lesser  portion  decreases  the  density.  The  effect  of  bro- 
mide of  potassium  is  to  give  clear  shadows,  thus  rendering  greater  contrasts ; 
therefore,  to  increase  or  decrease  this  effect,  use  a lesser  or  greater  quantity 
of  the  salt  (bromide  of  potassium) . 

Alum  in  the  fixing-bath  hardens  the  film  and  prevents  frilling  and  blister- 
ing. A lesser  quantity  than  given  in  formula  will  be  required  in  cold 
weather. 

ARRANGEMENT. 

After  having  obtained  a suitable  place  make  the  following  preparation  r 
Select  one  of  the  trays,  and  after  washing  it  thoroughljq  set  it  on  a level  sur- 
face to  your  left;  next,  place  the  other  tray  to  your  rkfht^  and  put  therein  the 
fixing  solution,  made  up  at  the  rate  of,  water,  G oz.  ; hjqjosulphite  soda, 
2 oz.  ; pulverized  alum,  a few  grains.  This  quantity  will  be  found  sufficient 
to  cover  a 5 X 8 plate.  Place  before  you  a sufficient  quantity  of  the  developer, 
mixed,  and  have  your  ruby  light  in  a convenient  place  to  watch  your  work  ; 
also  have  near  at  hand  a vial  of  30-graiu  solution  of  bromide  of  potassium 
(30  grains  potassium  to  10  oz.  water),  plenty  of  cold  water  (iced  if  possible 
in  summer),  and  a convenient  place  to  wash  the  plates. 

Then  we  are  ready  for  excluding  all  actinic  light,  and  proceed  to  the 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


17 


DEVELOPMENT  OF  THE  IMAGE. 

Lay  the  exposed  plate,  side  up,  in  the  tray  at  your  left,  and  taking  the 
graduate  containing  the  “ developer”  in  your  right  hand,  tilt  the  tray  slightly 
to  3"our  right,  and  pour  in  an  even  ■wave  the  entire  amount  of  the  liquid,  at  tlie 
same  time  bringing  the  tray  back  to  its  horizontal  position,  or  slightly  inclined 
to  the  left.  Now  see  that  the  tray  is  on  a level  surface,  and  let  it  remain, 
being  sure  that  the  surface  of  the  plate  is  entirely  covered  with  the  liquid. 
The  image  should  now  appear  in  a few  minutes  (say  two  or  three) , the  high 
lights  growing  dark  (of  a brownish  color),  and  the  shadows  remaining  of  the 
original  color  of  the  plate.  If  correctly  exposed,  it  will  gradually  grow  in 
strength,  the  detail  in  the  shadows  becoming  distinct.  Allow  the  develop- 
ment to  continue  until  the  image  commences  to  fade  away,  or  the  shadows 
change  to  a brown  color,  and  the  entire  picture  apparently  lost.  This  gives 
sufficient  printing  density  to  the  negative.  If  the  development  is  checked  too 
soon,  the  negative  will  be  weak  and  thin.  If  the  plate  has  been  under-ex- 
posed, the  image  will  be  a long  time  making  its  appearance,  and  after  a pro- 
longed development  the  shadows  will  still  remain  clear  and  the  color  of  the 
film  unchanged,  and  when  fixed  the  whole  plate  will  be  transparent,  giving  a 
flat,  dull  picture,  which  will  print  very  quickly.  On  the  other  hand,  should 
the  plate  be  over-exposed,  the  image  will  flash  out  more  quickly,  and  almost 
immediately  commence  to  fade  away  to  the  brown  color  above  mentioned. 
Should  it  be  “ fogged”  by  light,  the  image  -will  not  appear  at  all ; or,  if  at  all, 
faintly,  and  will  rapidly  turn  dark.  In  error  No.  1 the  remedy  is  to  pour  the 
developer  back  into  graduate,  and  add  moi’e  pyro.,  mixing  well,  and  flow  over 
the  plate  again,  allowing  it  to  remain  in  the  developer  as  long  as  it  continues 
to  have  any  effect.  (Remember  that  pyro.  gives  the  strength,  and  soda  the 
detail;  so  the  more  time  given,  the  less  soda  needed.)  If,  when  fixed,  it  is 
then  too  thin,  the  best  course  to  pursue  is  to  make  another  trial : give  from  i 
to  \ longer  exposnre  ; if  very  thin,  double  the  time,  but  should  another  ex- 
posure be  impossible,  proceed  according  to  directions  in  Intensification.  In 
error  No.  2,  after  the  image  has  flashed  out,  pour  the  developer  back  into  the 
graduate,  and  slightly  rinse  the  plate  with  water,  and  add  one  or  two  drops  of 
the  solution  of  bromide  of  potassium  for  every  ounce  of  developer,  or  dilute 
the  developer  with  water.  Now,  again  pour  on  the  developer,  as  befoi-e,  and 
proceed,  but  only  until  the  image  is  in  the  condition  given  in  development 
proper.  In  error  No.  3,  or  the  latter  case,  there  is  no  remedy. 

After  development  the  plate  is  thoroughly  washed  and  placed  for  a few 
minutes  in  a saturated  solution  of  alum,  rinsed,  and  placed  in  the  fixing-bath, 
where  it  should  be  allowed  to  remain  until  all  the  bromide  in  the  film  is  dis- 
solved, i.e.,  all  the  whitish  tinge  to  be  seen  when  looking  at  the  back  of  the 
negative  is  removed  (to  be  sure  that  it  is  entirely  removed  allow  it  to  remain 
a minute  or  two  longer)  ; it  is  then  thoroughly  washed  and  immersed  in  a satu- 
rated solution  of  alum  for  five  minutes,  rinsed,  placed  upon  the  drying-rack, 
and  set  away  in  a warm  (not  hot)  place,  free  from  dust,  and  allowed  to  dry, 
which  will  probably  take  one  or  two  hours.  The  time  required  for  a properly 
exposed  plate  to  develop  will  range  from  five  to  ten  minutes,  sometimes  fifteen 
or  even  twenty  will  do  no  harm.  Prolonged  development  causes  density ; 
shortened  development,  thinness.  After  sufficient  detail  and  strength  in  the 
shadows  is  gained,  further  development  is  injurious,  but  until  then  it  is  bene- 
ficial. Over-development  is  better  than  under-development. 


18 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


AFTER  FIXING, 

should  the  negative  appear  too  intense,  or  of  a yellow  color,  pour  over  it  the 
following  clear  solution  ; — 

Alum,  1 oz..  Citric  Acid,  1 oz..  Water,  20  oz. 

Take  of  this  solution  six  parts,  and  add  saturated  Solution  of  Iron,  one 
part.  To  keep  the  iron  solution,  add  to  each  two  ounces  one  drop  of  Sul- 
phuric Acid. 

This  treatment  gives  the  plate  the  appearance  and  printing  quality  of  a 
good  wet  plate,  and  if  prolonged  will  reduce  the  intensity. 

WASHING. 

The  negative  should  be  thoroughly  freed  from  the  Hyposulphite  of  Soda 
by  washing  for  an  hour  or  more  in  frequent  changes  of  water,  or  nnder  the 
tap  for  from  fifteen  to  twenty  minutes. 

INTENSIFICATION. 

When  a negative  is  fully  developed  in  detail,  but  lacks  in  strength  and 
contrast,  intensification  is  required  ; but  this  process  is  one  in  which  even  the 
expert  often  ruins  his  most  valuable  negative.  It  is  well,  therefore,  to  pro- 
ceed with  great  care.  To  effect  this,  after  the  negative  has  been  thoroughly 
washed  and  dried  prepare  the  following  stock  solution  : — 

Bicliloride  of  Mercury,  saturated  solution. 

Iodide  of  Potassium,  “ “ 

Hyposulphite  of  Soda,  “ “ 

Pour  the  mercury  into  the  iodide  until  it  remains  red  after  thoronghly 
shaking,  then  add  slowly  sufficient  of  the  Hyposulphite  of  Soda  to  clear  the 
color,  being  careful  not  to  add  too  much  ; if  so,  it  will  not  intensify.  In  that 
case  a fresh  mixture  must  be  prepared  of  the  iodide  and  mercury,  and  enough 
added  only  to  clear  it. 

Before  using,  dilute  about  one-third  with  water. 

Immerse  the  plate  in  the  inteusifier  in  the  same  manner  as  when  devel- 
oping, being  sure  that  the  tray  is  perfectly  clean.  The  plate  should  be  removed 
from  the  inteusifier  as  soon  as  it  has  attained  the  proper  printing  density,  and 
thoroughly  washed  or  soaked  before  drying. 


VARNISHING. 

After  the  plate  has  become  dry  it  is  the  custom  of  most  photographers  to 
protect  the  film  b}'  coating  it  with  varnish.  Where  many  prints  are  desired  this 
precaution  is  advisable,  but  for  proofs  or  a limited  number  of  prints,  with  the  ex- 
ercise of  a reasonable  amount  of  caution,  it  is  better  dispensed  with.  In  fact,  in 
my  professional  work  I have  not  varnished  a dozen  negatives,  and  from  many 
uirvarnished  negatives  have  made  thousands  of  beautiful  clean  prints  ; but 
there  always  remains  the  danger  of  the  paper  becoming  moist  and  sticking  to 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


19 


the  gelatine  film,  thus  practically  ruining  what  may  happen  to  be  your  most 
valuable  negative.  To  apply  the  varnish,  warm  the  plate  about  the  tempera- 
ture of  the  body,  and  flow,  by  holding  it  by  the  lower  left-hand  corner  firmly 
between  the  left  forefinger  and  thumb  in  a horizontal  position  ; allow  the  solu- 
tion to  flow  first  to  the  upper  left-hand  corner,  next  to  the  upper  right,  from 
there  to  the  lower  left,  from  thence  back  into  the  bottle  from  the  lower  right ; 
drain  perfectly ; again  warm,  and  set  away  to  cool. 


PRINTING. 

We  now  come  to  the  final  process,  which  is  to  be  the  result  of  all  our 
care,  taste,  and  expenditure  of  time,  and  which  is  to  increase  or  dhninish  our 
photographic  pride.  All  previous  manipulations  are  but  as  the  preparation  of 
the  canvas  and  paint  for  the  use  of  the  artist  in  idealizing  his  thoughts  into  a 
picture.  To  become  an  adept  in  this  branch,  taste  and  experience  are 
requisites,  and  a surety  of  excellence  cannot  be  gained  without  them.  With 
good  negatives,  material,  and  light,  the  printing  of  the  picture  is  undoubtedly 
the  most  pleasant  part  of  the  amateur’s  work ; but  it  is  a discouraging  fact 
that  they  are  attended  with  the  least  success,  caused  largely  by  lack  of 
facility,  apparatus,  and  a constant  working  of  the  chemicals,  which  keep  them 
in  their  rich,  harmonious  condition. 

Where  a large  number  of  prints  are  wanted,  and  the  result,  not  the  prac- 
tice, is  desired,  it  is  without  doubt  cheaper  and  more  satisfactory  for  the  ama- 
teur to  pass  his  negative  to  an  establishment  that  makes  a specialty  of  this 
class  of  work  ; but  to  the  true  artist-amateur  the  novelty  of  truthfully  making 
the  picture.,  which  he  presents  to  his  friend  for  keeping  or  criticism,  is  the 
source  of  the  greatest  satisfaction,  and  to  do  this  in  the  simplest,  easiest,  and 
yet  most  perfect  manner,  I shall  endeavor  to  assist  him. 

Like  the  preparation  of  the  gelatine  plates,  the  sensitizing  of  the  paper 
had  better  be  left  in  the  hands  of  the  professional,  or  those  who  prepare  it  for 
the  photographic  trade,  as  the  limited  amount  which  the  amateur  is  likely  to 
use  makes  it  economy  for  him  to  buy  the  paper  ready  for  use,  saying  nothing 
about  the  freedom  from  stains  which  favors  this  course. 

If  the  paper  has  been  procured  from  the  professional  photographer,  it 
should  be  ascertained  whether  or  not  it  has  been  “ fumed.” 

Commercial,  or  what  is  known  as  “ Ready  Sensitized  Paper,”  is  not,  as  a 
rule,  fumed  when  sold. 

Fuming  the  sensitive-paper  with  ammonia  before  printing,  increases  the 
brilliancy  of  the  print,  as  well  as  the  sensitive  qualities  of  the  paper,  render- 
ing the  toning  easier.  As  it  destroys  the  keeping  qualities  of  the  paper,  fume 
only  for  immediate  use. 

TO  FUME  on  a small  scale,  proceed  as  follow : Over  the  bottom  of  a 
small  box  (a  plate  box  will  do)  spread  a small  quantity  of  absorbent  cotton. 
On  the  cotton  sprinkle  a few  drops  of  strong  ammonia  water  ; cut  a piece  of 
blotting-paper  to  fit  in  the  box  and  lay  over  the  cotton  ; on  the  blotting-paper 
lay  the  sensitive-paper,  and  close  the  box. 

The  sensitive-paper  should  not  come  in  direct  contact  with  the  liquid 
ammonia,  and  if  the  cotton  should  be  wet  enough  to  cause  the  moisture  to 
penetrate  the  blotting-paper,  another  sheet  should  be  added. 

Where  it  is  desirable  to  fume  in  large  quantities,  procure  a box  or  drawer 
of  suitable  size,  and  place  supports  across,  near  the  top  ; fasten  two  sheets  of 
sensitized  paper  together  b}^  the  extreme  edges,  and  place  across  the  sticks 


20 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


with  faces  outward ; several  sheets  may  also  be  fastened  by  the  corners  to 
the  inner  surfaces  of  the  box  with  faces  outward  ; place  a saucer  containing 
some  stronger  ammonia  in  the  bottom  of  the  box,  and  close  the  cover. 

From  fifteen  minutes  to  a half-hour  is  the  time  required  to  properly  fume 
sensitized  paper ; remove  the  paper  from  the  fuming-box  at  least  five 
minutes  before  jjlaciug  in  the  printing-frame.  This  done,  cut  the  sensitive- 
paper,  in  a darkened  corner  of  your  room,  into  pieces  the  size  of  print  you 
wish  from  the  negative.  If  a printing- board  is  to  be  employed,  laj'  the 
sensitive  side  of  the  paper  on  the  film  side  of  the  negative,  firmly  hold  them 
together  with  the  right  hand  on  the  upper  part  of  the  negative  and  paper ; 
then  take  the  board  in  the  left  hand  by  the  narrow  hinged  part ; this  will 
allow  the  upper  or  wide  part  to  fall  over;  by  this  you  are  enabled  to  lay  the 
negative  on  the  padded  lower  part,  and  by  relaxing  the  under  fingers  of  the 
left  hand,  and  then  including  in  its  grasp  the  printing-board  also,  the  right 
hand  is  free  to  apply  the  spring  clamps  on  both  parts  to  get  the  pressure. 
These  clamps  should  be  applied  only  on  the  extreme  corner,  so  as  to  avoid 
leaving  a white  mark  on  the  print. 

If  instead  of  a board,  a printing-frame  is  to  be  used,  remove  the  spring 
and  pressure  board,  lay  the  negative  in  the  frame,  film  side  and  place  the 
sensitive  sheet  of  paper,  sensitive  side  down,  as  above  described,  replace  the 
board  and  apply  the  springs.  This  presses  the  paper  in  contact  with  the 
negative,  which  must  6e,  to  insure  a sharp  print.  Now  lay  in  the  sun,  allow- 
ing the  rays  to  strike  as  evenly  as  possible  on  the  negative  : after  a few 
moments  examine  the  progress  of  the  operation  by  unclamping  one  side  of 
the  board  and  turning  back  the  paper,  which  will  be  found  to  have  darkened 
in  parts,  and  thus  transforming  the  clean,  white  paper  into  a picture.  The 
length  of  time  which  is  required  to  print  a picture  is  governed  bj"  the  density 
of  the  negative  and  the  strength  of  light.  As  you  cair  watch  the  progress 
with  ease,  it  is  your  only  means  of  knowing  when  it  has  undergone  sufficient 
change,  and  even  by  this  method  the  amateur  will  find  some  difficulty  in 
deciding  in  which  stage  rests  the  “ happy  medium.”  The  toning  process  is 
one  which  bleaches  ; therefore,,  the  print  requires  to  be  many  shades  darker 
than  is  desired  in  the  finished  picture. 

This  is  simply  an  outline  of  the  mechanical  method  of  producing  a print, 
and  the  student  must  not  feel  that  in  once  successful!}"  completing  this  task 
he  has  exhausted  the  subject ; it  is  one  on  which  volumes  have  and  still  can 
be  written,  but  into  the  depths  of  Avhich  this  guide  to  the  “ dusky  art  ” can- 
not enter.  It  is  my  object  to  successfully  teach  the  novice  to  make  a photo- 
graphic picture  ; after  ha\dng  accomplished  this  he  is  then  ready,  if  he  so 
choose,  for  deeper  investigation  into  each  succeeding  step  towards  the  com- 
pletion of  photograplis  in  which  can  be  seen  evidence  of  forethought,  study, 
and  careful  treatment  of  light,  subject,  negative,  and  print.  To  produce  a 
warm,  brilliant  print,  a negative  rich  in  detail  and  contrasts  must  first  be 
obtained.  To  make  such  a print  from  a weak,  tliin  negative  is  a difficult  and 
often  impossible  task  for  even  the  expert,  but  the  printing  qualities  of  all  such 
negatives  can  be  greatly  enriched  by  resorting  to  many  artifices,  such  as  the 
following,  which  are  well  known  to  any  first-class  photographic  printer  : — 

When,  by  intensification  and  other  means,  you  have  failed  to  get  sufficient 
contrast  in  your  negative,  and  your  prints  show  a lack  of  clearness  in  the 
whites,  and  have  a general  “ measly  ” appearance,  cover  the  negative  with 
two  or  three  thicknesses  of  tissue-i)aper  (white)  or  ground  glass ; this  evi- 
dently protects  the  whites,  and  allows  a greater  proportion  of  liglit  to  pass 
through  the  shadows  ; but  be  this  as  it  may,  it  is  a well-known  fact  that  if 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


21 


two  prints  be  taken  from  a weak  negative  the  one  printed  by  diffused  light  will 
be  found  the  most  brilliant.  Parts  of  the  picture  which  are  too  dark  can  be 
greatly  improved  by  shading  with  some  opaque  substance,  keeping  the  shade 
moving  so  as  to  allow  no  outline  to  be  printed ; in  this  way  skies  can  be  light- 
ened, and  other  parts  of  the  picture  shaded,  while  very  intense  portions  are 
printed  deeper.  For  a treatise  on  this  class  of  work  I cannot  do  better  than 
refer  the  amateur  or  professional  to  the  most  excellent  work  of  H.  P.  Robin- 
son and  Capt.  Abney,  entitled,  “ The  Art  and  Practice  of  Silver  Printing.” 


CUT-OUTS,  OR  MASKS,  FOR  PRINTING. 

In  a piece  of  opaque  paper  cut  any  size  or  shape  opening  desired,  and 
adjust  it  on  the  face  of  the  negative  until  in  a position  to  suit  the  taste  of 
the  operator ; then  trim  the  edges  of  the  paper  to  size  of  the  negative,  while  it 
has  been  kept  in  this  position. 

When  wanted  for  use  the  mask  is  placed  between  the  negative  and  the 
sensitive-paper,  and  this  prevents  that  portion,  usually  the  border  coming 
under  the  mask,  from  being  changed  in  color  while  the  exposed  part  is 
printed.  Cut-outs,  or  masks,  in  all  forms,  can  be  bought  of  dealers. 

Vignetting  the  picture  is  done  by  causing  the  printing  of  the  negative  to 
blend  into  the  protected  and  unprinted  margin,  instead  of  in  a sharp  line,  as 
is  the  case  with  masks.  For  this  purpose,  there  are  many  devices  to  be 
obtained,  at  a small  cost,  of  dealers,  each  of  which  are  so  simple  to  use  that 
any  description  is  unnecessary  except  to  add  that  the  vignetting  mask  is 
placed  in  front  of  the  negative,  instead  of  between  the  negative  and  sensitive 
paper,  and  from  a quarter  of  an  inch  to  an  inch  from  the  face  of  the  negative, 
owing  to  the  construction  of  the  device  and  the  effect  desired.  The  farther 
the  mask  is  from  the  negative,  the  softer  will  be  the  blending  from  the  print- 
ing in  the  centre  to  the  white  border.  Light  must  be  prevented  from  coming 
in  on  the  negative  from  the  outside  of  the  mask. 

An  ounce  of  thought ; a spoonful  of  experience , seasoned  with  good 
taste;  manipulation  by  a person  with  ordinary  intelligence,  — should  quickly 
produce  pleasing  results. 


The  printing  having  been  completed,  remove  the  backboard  and  print, 
and  proceed  to  trim  the  latter  by  using  the  trimming-glass  and  a sharp  pair  of 
shears,  or  the  print-trimmer.  It  should  not  be  the  aim  of  the  artist  to  get  as 
large  a print  on  his  mount  as  possible,  for  a 5x8  print  which  has  in  one  por- 
tion of  it  a jpiciiire  measuring  4 X 5 inches,  with  the  remaining  portions  unin- 
teresting or  poor,  would  be  far  more  pleasing  with  the  objectionable  part 
removed.  Great  taste  can  be  exercised  in  this  evidently  simple  branch.  A 
desired  number  of  prints  ha\dng  been  made,  we  now  proceed  to  the  washing, 
toning,  and  fixing,  or,  in  other  words,  to  render  permanent  the  temporary  pict- 
ures which  we  now  have,  and  which  would  continue  to  print  or  grow  dark  in 
all  parts  exposed  to  light.  The  first  step  is  to  wash  out  the  fine  salts  of  free 
silver  by  placing  the  prints  one  by  one  in  a dish  containing  w'ater,  being  care- 
ful that  they  do  not  stick  together  until  thoroughly  wet ; put  them  into  fresh 
changes  of  water  several  tunes,  or  until  the  milky  sediment  which  usually 
forms  has  been  largely  washed  out  of  the  print. 

A reliable  coimnercial  toning  solution  is  undoubtedly  the  more  deskable 


22 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


article  to  use,  but  not  desuiug  to  confine  the  operator  to  such,  I give  instruc- 
tions to  prepare  a solution,  commonly  called  a toning  bath,  as  follows  : — 


SOLUTION  I. 

Water  ........  20  oz. 

Common  Salt  .......  60  grains. 

SOLUTION  2. 

Chloride  of  Gold  . . . . . . 15  grains. 

Water  ........  10  oz. 

SOLUTION  3. 

Bicarbonate  of  Soda . . . . . . 2 oz. 

Water  ........  4 oz. 


TO  COMPLETE  THE  TONING  BATH. 

Into  toning-tray  place  the  entire  amount  of  Solution  No.  1,  and  take  of 
Solution  2,  ^ an  ounce.  Solution  3,  15  drops,  or  sufficient  to  cause  red  litmus 
paper,  or  test-paper,  to  turn  purple  ; this  denotes  that  the  bath  is  in  au  alkali 
state,  which  must  be  before  it  will  act  on  the  prints.  If  the  bath  has  been 
freshly  made  it  should  stand  at  least  fifteen  minutes  or  half-an-hour,  and 
after  toning  kept  for  future  use,  when  all  that  will  be  required  is  a fresh  sup- 
ply of  gold,  and  the  bath  again  made  alkaline.  In  order  to  preserve  the 
keeping  qualities  of  the  gold  it  must  remain  in  an  acid  condition,  as  when 
alkaline  the  gold  precipitates,  and  in  this  state  of  precipitation  the  prints  only 
can  be  toned : thus  we  are  compelled  to  supply  a fresh  quantity  at  each 
toning  ; but  the  solution  of  itself  apparently  grows  richer  with  use,  and  imparts 
a deeper  and  more  brUliaut  color  to  the  prints. 

The  prints,  now  ha^^ng  had  the  free  nitrate  of  silver  removed  from  them 
by  washing,  and  the  toning  bath  is  awaiting  the  time  desirable  before  using,  we 
will  proceed  to  acidify  the  former  (the  prints)  by  soaking  them  for  a few 
minutes  in  the  following  solution  : — 

Water  ........  20  oz. 

Acetic  Acid  .......  oz. 

But  this,  however,  is  not  an  absolute  necessity,  as  many  photographers  tone 
the  prints  directly  from  the  washing,  but  it  has  alwaj's  been  my  constant 
custom  to  acidify  theirr.  Before  the  prints  are  put  in  this  solution  (if  from 
good  negatives  aird  on  good  paper)  they  should  be  of  a rich  purple  color. 
They  will  now  soon  commence  turning  to  a reddish  brown ; allow  this  color  to 
ripen  until  quite  deep  ; then  remove  and  wmsh  in  two  or  three  waters,  or  until 
no  trace  of  the  acid  is  left  in  the  water : when  acid  is  present  the  water  will 
taste  sour.  The  toning  bath  now  being  ready  for  use,  the  prints  are  placed 
one  bj'  one  therein. 

Changing  the  prints  from  an  alkaline  to  an  acid  state  (or  from  a blue  to  a 
red  color)  by  the  above  process,  is  done  to  enable  the  operator  to  watch  more 
easily  the  Process  of  Toning,  which  again  cliauges  the  print  back  to  something 
like  its  original  color  before  acidification,  and  lea%fing  the  high  lights  clear  and 
pure.  The  proper  stage  at  which  to  stop  the  toning  is  very  difficult  to  de- 
scribe, as  prints  from  different  negatives  appear  of  a different  color,  and  dif- 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


23 


' ferent  brands  of  paper  tone  very  differently,  some  requiring  more  toning  than 
others  ; again,  what  one  might  call  a rich  loarm  tone  another  will  often  think 
undertoned  or  too  red.  As  a general  rule  remove  the  print  and  place  it  in 
j fresh  water  when  it  has  changed  to  a dark  blue.  The  rest  I must  leave  to 
I your  judgment  and  taste. 

I FIXING. 

I This  is  the  final  chemical  process  through  which  our  picture  has  to  pass, 

and,  as  the  name  implies,  it  is  for  the  purpose  of  fixing  the  color  or  making 
the  print  permanent  (so  to  speak).  Yes,  it  is  a “fixer,”  for  many  an 
enthusiastic  amateur  has  found  his  fondly  cherished  work  sadly  ‘•‘•fixed,  ” in  the 
I most  literal  sense  of  the  slang  term.  Hyposulphite  of  Soda  (which  forms  the 
1 fixing  solution)  is  the  friend  of  photography  : after  all  other  chemicals  have 
; given  their  assistance  to  form  and  build  the  image,  “Hypo.”  puts  forth  his 
, staying  hand  and  arrests  the  escape  of  the  “ fading  reality  ; ” but  after  he  has 
finished  his  work  the  wise  photographer  will  drive  him  energetically  away ; 

; yea,  let  no  trace  or  vestige  be  left,  or  your  feeling  of  love  for  him  will  be 

I turned  to  hatred. 

1 The  Fixer  is  composed  of — 

Hyposulphite  of  Soda  . . . . . 1 oz . 

Water  ........  10  oz. 

After  the  crystals  have  become  thoroughly  dissolved  place  the  toned 
i prints  in  the  solution,  and  keep  them  in  motion  for  fifteen  or  twenty  minutes, 

' then  remove  to  the  final  washing- water.  Had  the  prints  been  placed  in  this 

solution  before  being  toned  they  would  have  turned  a yellow,  muddy  color ; 
therefore,  if  the  print  is  undertoned  it  will  turn  and  remain  in  this  state,  and  if 
overtoned  it  will  be  blue  or  cold  gray  after  having  been  immersed  a few  minutes. 
Under  either  circumstance  they  will  generally  assume  a brownish  or  reddish 
color  when  first  immersed. 

After  fixing,  the  prints  should  be  thoroughly  washed  in  running  water  for 
at  least  two  hours,  or  if  in  haste,  held  simply  under  the  tap  for  fifteen 
or  twenty  minutes.  They  are  then  ready  to  be  mounted  or  ortherwise 
k disposed  of. 

I 

— 


A NEGLECTED  METHOD  OF  SILVER  PRINTING. 

BY  CHARLES  L.  MITCHELL,  M.D. 

[Read  before  the  Photosrraphic  Society  of  Philadelphia.] 

During  the  past  five  or  six  years,  and  with  the  advent  into  popular  use  of 
the  dry-plate  process  of  photography,  considerable  attention  has  been  given 
to  different  methods  for  producing,  by  photographic  processes,  various  artistic 
effects  in  printing  the  picture,  in  simulation  of  those  obtained  by  the  mechani- 
cal processes  of  the  engraver  and  etcher.  The  albumen  silver  print  refiects 
the  general  popular  taste,  and  when  artistically  made  is  always  pleasing,  but 
the  gloss  and  brilliancy  of  its  surface  soon  become  monotonous  and  even 


24 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


wearying,  and  the  eyes  seek  relief  in  the  mellow  tones  and  soft  outlines  of  a 
well  executed  etching  or  engraving.  This  has  led  to  the  introduction  of  the 
various  forms  of  bromide  paper,  “Alpha”  paj^er,  platinum  prints,  etc.,  etc., 
all  of  which  seek  to  reproduce  on  a dead  or  mat  surface  paper,  by  different 
chemical  methods,  the  blacks,  purples,  grays,  and  various  half  tones,  obtained 
by  the  skilful  use  of  the  engraver’s  tool,  and  to  give  effects  corresponding  to 
those  found  in  a fine  line  engraving. 

The  use  of  these  papers  has  led  to  considerable  change  in  the  styles  of 
photographic  printing,  and  although  the  albumen  print  will  probably  always 
be  to  a very  large  majority  of  persons  “ the  photograph,”  and  the  only  form 
recognized  by  that  title,  there  will  remain  a considerable  minority,  to  whom 
the  other  more  novel  and  more  artistic  styles  of  photographic  printing  -will 
prove  most  interesting  and  enjoyable.  The  use  of  bromide  paper  for  pre- 
paring pi’iuts,  and  particularly  for  enlargements,  is  rapidly  increasing,  and  yet 
the  writer  feels  compelled  to  acknowledge  that,  after  considerable  experience 
in  its  use,  he  has  frequently  been  disappointed  in  the  results  obtained  from  it. 
For  enlargements,  which  can  afterwards  be  worked  up  with  the  stump  and 
crayon,  it  leaves  nothing  to  be  desired,  but  for  contact  prints  and  enlarge- 
ments of  moderate  size,  which  are  to  receive  no  further  finishing,  it  must  be 
confessed  that  there  is  often  in  the  finished  bromide  print  a lack  of  the  finer 
details  of  the  picture,  which  is  rather  disappointing  when  compared  witli  a 
good  albumen  print  prepared  from  the  same  negative.  Furthermore,  the 
process  is,  to  a certain  extent,  one  which  must  be  carried  on  in  the  dark  — in 
a double  sense  — for  not  until  the  paper  is  exposed,  and  the  latent  image  has 
commenced  to  show  itself  under  the  influence  of  the  developing  solution,  does 
the  operator  know  whether  his  exposure  has  been  properly  timed  so  as  to 
secure  the  best  print,  and  it  is  then  too  late  to  more  than  partially  remedy  the 
difficulty  by  influencing  or  modifying  the  remainder  of  the  already  partially 
completed  development.  It  is  true  a succession  of  trials  will  soon  determine 
the  proper  exposure  for  any  one  negative,  but  this  takes  time  and  is 
expensive,  so  that  among  photographers,  and  particularly  amateurs,  to  which 
class  the  writer  now  mainly  addresses  himself,  the  remark  is  often  heard, 
“ Yes,  bromide  prints  are  very  beautiful  when  you  can  get  them  just  right, 
but  I find  much  difficulty  in  doing  so,  and  but  few  negatives  produce  fine 
results.  For  general  work  I prefer  a-  good  albumen  print.” 

The  purpose  of  the  writer  is  to  call  attention  to  a style  of  silver  printing, 
once  quite  popular  but  now  fallen  into  comparative  disuse,  which  is,  while 
probably  no  better  in  its  finished  result  than  the  bromide  process  at  its  best, 
yet  considerably  more  certain  in  its  result,  at  least,  as  easy  in  its  execution, 
and  affords  a variety  in  effect  much  superior  to  that  produced  by  the  bromide 
process.  I allude  to  the  old  method  of  printing  on  plain  paper,  sensitized  with 
cliloride  of  silver.  Years  ago,  in  the  time  of  the  old  wet-plate  processes,  this 
method  of  printing  was  quite  popular,  but  of  later  years  it  seems  to  have 
dropped  almost  completely  out  of  sight,  and  there  is  but  brief  mention  of  it 
made  in  the  different  technical  works  on  photographic  printing.  Yet  it  gives 
results  which  are  so  extremely  beautiful,  that  it  seems  but  proper  that  more 
attention  should  be  directed  to  it,  and  particularly  by  those  artistic  photogra- 
phers who  are  always  seeking  new  and  beautiful  photographic  effects.  In 
portrait  work  it  gives  beautiful  soft  outlines  and  warm  tones,  and  for  land- 
scapes, architectural  studies,  genre  pictures,  copies  of  old  engravings,  etc.,  it 
gives  results  which  for  softness,  delicacy,  and  perfection  of  tint  cannot  be  sur- 
passed by  any  other  method  with  which  the  writer  is  acquainted.  AYith  it  a 
great  variety  of  tones  can  be  obtained,  ranging  from  a sepia  or  a rich  brown 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


25 


to  a deep  purple  or  even  black,  capable  of  reproducing  in  many  instances  the 
same  soft  and  warm  tints  of  an  old  mezzotint  or  copper-plate  engraving. 
Furthermore,  as  the  process  is  conducted  in  the  same  manner  as  in  ordinary 
albumen  printing,  the;  period  of  exposure  is  not  an  uncertain  quantity,  but  the 
printing  can  be  watched  as  it  goes  on  under  the  printing-frame,  and  the  depth 
of  the  print  and  consequently  the  character  of  the  subsequent  tone,  regulated 
according  to  the  taste  of  the  operator. 

The  details  of  the  process  are  briefly  as  follows  : The  paper  used  should 
be  an  ordinary  plain  white  paper  — Rives,  for  instance  — with  a moderately 
smooth  surface.  This  is  to  be  salted  in  the  usual  manner  with  a soluble  alka- 
line chloride  (sodium  or  ammonium),  a small  quantity  of  gelatine  or  albumen 
being  added  to  the  bath,  so  as  to  give  a slight  size  to  the  paper,  and  the  paper 
subsequently  well  dried.  Such  paper  can  generally  be  procured  from  the 
dealers,  already  prepared.  Other  varieties  of  white  paper  with  a rougher  sur- 
face, corresponding  in  grain  to  the  “ C”  Bromide  paper,  may  be  prepared  in 
a similar  manner,  and  the  writer  hopes  to  be  able  to  make  further  experiments 
in  this  direction. 

This  prepared  and  salted  paper  is  now  to  be  sensitized.  This  is  done  by 
floating  it  on  a sensitizing  bath  composed  of  fifty  grains  each  of  silver  nitrate 
and  amuonium  nitrate  to  the  fluid  ounce  of  water.  The  bath  should  be  kept 
slightly  alkaline  by  the  presence  of  a small  quantity  of  silver  carbonate  (pro- 
duced by  adding  a few  drops  of  a solution  of  sodium  carbonate  to  the  bath) , 
the  clear  supernatant  liquid  being  always  poured  or  filtered  off  from  the  pre- 
cipitated silver  carbonate  before  the  bath  is  used.  The  paper  should  be  al- 
lowed to  float  on  this  bath  for  from  three  to  five  minutes,  — three  in  summer,  five 
in  winter,  — and  then  hung  up  to  drain  and  dry.  All  these  operations  must,  of 
course,  be  performed  in  a darkened  room,  the  same  as  in  silvering  albumen 
paper.  When  thoroughly  dry,  the  sensitized  paper  must  be  fumed  with 
ammonia  for  fifteen  minutes,  in  the  fuming-box,  and  is  then  ready  to  print. 
This  is  done  by  exposing  it,  under  the  negative,  to  the  sun,  in  the  usual  print- 
ing-frame. The  paper  prints  rapidly,  and  from  time  to  time  the  frame  must 
be  removed  to  a dark  place  and  the  progress  of  the  printing  inspected.  Here 
is  one  of  the  great  advantages  of  this  process  over  the  Bromide  process,  for 
the  operator  can  see  just  what  he  is  doing,  and  can  at  any  time  stop  the  print- 
ing when  the  color  of  the  print  shows  it  to  have  gone  far  enough.  The  prints 
when  removed  from  the  printing-frame  are  to  be  soaked  in  a bath  composed 
of  acetic  acid  one  ounce,  water  one  pint,  for  about  fifteen  minutes,  and  then  this 
poured  off  and  the  prints  washed  with  half-a-dozen  different  changes  of  water, 
until  nearly  all  the  free  silver  has  been  removed.  They  are  now  ready  for 
toning.  The  toning  bath  used  is  that  formulated  by  Dr.  E.  L.  Wilson,  and 
is  composed  as  follows  : — 


Acetate  Sodium 
Chloride  Sodium 
Chloride  Gold  . 
Nitrate  Uranium 
Water 


60  grains. 
60  “ 

4 “ 

4 “ 

32  fluid  oz. 


“ Neutralize  the  gold  and  uranium,  previously  dissolved  in  a little  water,  with 
sufficient  bicarbonate  soda.  Before  using,  add  gold,  to  renew  the  bath,  as 
necessary.” 

The  prints  are  to  be  introduced  into  this  bath,  one  or  two  at  a time,  and 
allowed  to  remain  there  until  the  proper  tone  is  reached,  the  dish  being  kept 


26 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


gently  in  motion  during  the  operation,  so  as  to  avoid  uneven  toning.  This 
portion  of  the  operation  requires  careful  watching,  as,  owing  to  the  porous 
and  absorbent  character  of  the  paper  the  prints  tone  much  moi’e  quickly  than 
the  glossy  albumen  prints.  A few  minutes  is  amply  sufficient,  and  for  the 
lighter  tones  of  sepia  and  brown,  it  is  enough  to  but  dip  them  in  the  toning 
bath  for  only  a few  seconds.  A little  experience  will  soon  indicate  the  proper 
length  of  time.  After  removal  from  this  bath  they  are  to  be  rinsed  with  sev- 
eral waters  and  then  transferred  to  the  fixing  bath.  This  is  best  made  as 
follows : — 


Hyposulphite  Sodimn  . 
Salt  . . . . 

Bicarbonate  Soda 
Water 


2 oz. 

1 oz. 
i oz. 

1 pint. 


Any  of  the  ordinary  Hypo,  baths  used  for  fixing  prints  vull  answer  equally 
well,  however.  The  prints  are  allowed  to  remain  in  this  bath  for  about  fifteen 
minutes,  then  removed,  well  washed  in  several  changes  of  water,  soaked  for 
about  ten  or  fifteen  minutes  in  a bath  of  a strong  solution  of  alum,  to  remove 
the  last  traces  of  Hypo.,  and  then  washed  in  running  water  for  several  hours. 
They  are  now  finished,  and  can  be  dried  by  hanging  them  on  a line  or  by 
pressing  them  between  blotters  ; the  latter  is  best.  They  can  then  be  appro- 
priately trimmed  and  mounted  as  desired.  The  writer  has  found  it  to  be  of 
an  advantage  to  render  them  more  pliable  by  dipping  them  in  a 10  per  cent, 
solution  of  glycerine  in  water  just  previous  to  drying  them.  They  dry  rather 
more  slowly,  but  they  mount  much  more  evenly  and  smoothly. 

Different  effects  can  be  produced  by  a little  study  of  two  particular  parts 
of  the  process,  — the  printing  and  the  toning.  Deep  printing  and  quick  toning 
will  give  sepias  and  browns ; deep  printing  and  long  toning  will  give  purples 
and  blacks ; light  printing  and  short  toning  will  give  light  sepia  tints,  and 
light  printing  and  long  toning  will  give  cool  grays  and  slate  tints.  Various 
intermediate  effects  between  these  can  be  produced  with  a little  experiment- 
ing. The  process  is  comparatively  easy,  sure  of  good  results,  and  not  ex- 
pensive. 


TO  MOUNT  THE  PRINT. 

It  is  useless  for  me  to  give  any  rules  for  the  size,  style,  or  color  of 
mount.  The  use  of  the  picture  and  taste  of  the  operator  should  govern 
this. 

Make  a paste  by  moistening  in  the  smallest  quantity  of  water  possible  a 
teaspoouful  of  starch,  and  after  it  is  thoroughly  mixed  pour  on  boiling  hot 
water,  stirring  vigorously  until  about  to  the  consistency  of  a stiff  pudding. 

The  prints  should  next  be  placed,  face  downwards,  on  a plate  of  glass 
one  on  top  of  the  other,  and  all  surplus  water  removed  by  squeezing  with  the 
hand.  It  is  necessary  to  get  them  quite  dry,  or  the  corner’s  and  edges  when 
mounted  will  persist  in  curling  up.  Apply  the  paste  with  a flat  brush,  rubbing 
on  a good  quantity,  especially  around  the  corners  and  edges.  Baise  one 
edge  with  a penknife,  pick  up  and  lay  pasted  side  down  on  the  card,  to  your 
liking. 

With  a sheet  of  clean  white  paper  rub  the  moist  print  down,  holding 
firmly  the  lower  part  of  paper,  print,  and  mount  together.  The  picture  can 
then  be  put  aside  to  be  dried,  spotted,  and  burnished. 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


27 


Spotting  is  accomplished  by  simply  touching  white  spots  or  imperfections 
with  India  Ink.  The  burnishing,  by  passing  the  print  under  an  iron  roller, 
and  over  a heated  steel  surface,  the  print  being  next  to  the  heated  surface. 

Prints  mounted  with  “Anti-cockling;LMounting  Solution”  will  remain  per- 
fectly flat  when  dry,  wUl  not  cockle,  bend,  or  twist,  and  do  not  require 
burnishing. 


PRINTING  WITH  ROMAN  BLUE  PAPER. 

By  this  process  the  method  of  exposing  to  the  light  is  the  same  as  with  the 
silver.  Print  until  the  shadows  turn  to  a rusty  color,  then  wash  until  all  trace 
of  yellow  is  removed.  Should  the  picture  apparently  wash  away  and  leave 
the  paper  quite  white,  it  is  evidence  that  it  has  not  been  printed  sufficiently. 

TO  DRY  A NEGATIVE  QUICKLY. 

Soak  in  alcohol  for  five  minutes,  remove,  place  on  the  rack  in  a warm, 
dry  place  ; the  alcohol  displaces  the  water  in  the  film,  and  the  plate  will  be 
found  to  dry  rapidly. 

PRINTING  TRANSPARENT  POSITIVES. 

Very  beautiful  glass  positives  for  hanging  in  windows,  etc.,  can  be  made 
by  using  the  ordinary  Gelatine  Bromide  Plates  (a  slow  plate  is  preferable,  as 
it  generally  gives  greater  contrasts) . Place  the  negative  from  which  you 
wish  to  make  the  positive,  film  side  up  in  a printing-frame  having  quite  mild 
springs,  lay  the  gelatine  plate  film  downwards  on  the  negative,  replace  the 
back  press-board,  spring  down  gently  until  fastened,  and  hold  two  feet  from 
a gas  jet  for  exposure.  As  the  progress  of  printing  cannot  be  examined  as 
with  the  paper  printing,  the  time  of  exposure  must  be  calculated  ; this  depends 
on  the  density  of  the  negative,  the  rapidity  of  the  plate,  and  the  strength  of 
light. 

Develop  with  the  Oxalate  of  Potash  formula,  and  fix  as  in  negative 
making. 

CARE  OF  THE  IMPLEMENTS. 

Examine  all  parts  of  the  camera  from  time  to  tune  to  see  that  it  leaks  no 
light. 

The  interior  of  the  camera  and  plate-holders  should  be  carefully  dusted 
frequently. 

When  the  lens  becomes  dusty  or  du’ty,  remove  from  the  mounting  by  un- 
screwing the  ring  fianges  and  wipe  with  a silk  handkerchief, — if  moisture 
is  required  breathe  on  it.  In  replacing  the  lenses  be  sure  that  the  convex  sides 
are  from  the  diaphragm.  When  a screw  becomes  loosened  or  lost  immediately 
make  it  good. 

When  not  in  use  keep  packed;  and  each  article  in  its  respective  place. 

CARE  OF  THE  PLATES. 

These  must  positively  be  kept  in  a dry  place,  and,  after  the  outside  cov- 
ering is  off,  well  protected  from  light.  In  changing  or  handling  them  be 
careful  that  the  hands  are  free  from  moisture,  remembering  that  the  film  is 
glutinous.  In  repacking  always  replace  the  separators  between  each  plate,  and 
see  also  that  they  are  perfectly  dry ; likewise  the  plate. 


28 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


EXPLANATIONS. 


In  development  the  plate  should  be  entirely  ‘covered  by  the  solution  \ 
otherwise,  where  it  has  been  left  uncovered,  a more  transparent  spot  will  be 
present.  Also,  wherever  the  developer  stops  in  flowing,  a streak  is  left. 

Should  the  film  blister  and  leave  the  glass  in  any  of  the  operations  in  the 
solutions,  immediately  remove  from  the  tray  and  flow  with  an  alum  solution  ; 
allow  it  to  remain  a minute  or  so,  and  then  proceed  as  before.  When  carrying 
or  setting  the  plate-box  exposed  to  light,  it  is  best  to  take  the  precaution  of 
covering  it,  thus  avoiding  the  plates  being  damaged  by  any  leak.  It  is  always 
best  to  somewhat  shield  the  parts  of  the  camera  which  are  most  apt  to  leak  light 
from  direct  sunlight.  In  changing  or  developing  the  sensitive  plates,  be  sure 
not  to  admit  any  actinic  light  until  all  developed  plates  are  protected  from  it. 
Neither  should  the  plate  be  exposed  to  the  direct  rays  of  even  a ruby,  or 
nou-actiuic  light,  more  than  is  necessary. 

SATURATED  SOLUTION. 

A solution  in  which  the  solvent  has  taken  up,  or  holds  in  solution  all  of  a 
salt  that  it  is  capable  of  dissolving,  as  an  example,  a saturated  solution  of  ox- 
alate of  potash,  is  when  the  water  will  dissolve  no  more  of  the  potash. 

ACIDITY,  NEUTRALITY,  AND  ALKINITY. 

All  chemicals  are  in  either  of  the  above  conditions  ; by  adding  an  alkali  to 
an  acid,  we  may  change  it  to  a neutral ; and  from  thence  to  the  alkali,  and 
vice  versd;  bj'^  touching  with  litmus  paper,  the  color  to  which  it  will  change 
denotes  the  condition  of  the  solution : red  denotes  acid,  and  blue,  alkali. 


ACTINIC  AND  NON-ACTINIC  PHOTOGRAPHICALLY. 

A light  which  will  or  will  not  act  on  the  chemicals  or  films  which  are 
sensitive  to  light. 

STOCK  SOLUTION. 

A solution  made  up  in  quantity,  from  which  mixtures  for  immediate  use 
are  taken. 

GENERAL  REMARKS. 


To  produce  fine,  clean  results,  care  and  judgment  must  he  used.  Any  par- 
ticle of  dust  or  dirt  on  the  film  of  the  plute,  when  exposed  or  developed,  is 
likely  to  leave  its  impression  ; therefore,  carefully  remove  all  such  with  a 
brush  before  putting  the  plate  into  the  plate-holder,  and  again  before  it  is  de- 
veloped. If  found  difficult  to  flow  the  plate  without  stains,  caused  by  the 
developer  stopping  in  its  flow,  it  can  be  wet,  wliich  is  a preventive.  After  the 
plate  has  been  once  wet,  always  freshly  wet  it  before  changing  it  into  any  of 
the  solutions ; othei’wise,  small  air-bubbles  are  likely  to  form  on  the  surface. 

I have  found  the  finest  negatives  obtainable  by  a good,  generous  exposure 
and.  using  a weak  developer,  but  the  development  must  be  continued  longer. 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


29 


A thorough  washing  or  soaking  after  fixing  is  absolutely  necessary  to  elimi- 
nate the  Hypo,  from  the  film.  Whenever  a trace  of  it  is  present,  the  film  re- 
mains moist  and  “ sweaty,”  causing  it  to  turn  yellow,  and  the  image  to  fade 
away  ; remedy : Soak  in  water  ten  minutes,  rinse,  immerse  in  alum  for  a min- 
ute or  two,  again  rinse,  and  set  away  to  dry. 

Either  in  hot  or  cold  weather,  whether  your  plate  frills  or  not,  an  immer- 
sion of  the  plate  in  a strong  solution  of  common  alum  is  invaluable  ; it 
toughens  the  film  and  causes  it  to  dry  quicker  and  harder,  and  with  clearer 
shadows.  Be  sure  that  you  use  none  but  Light-tight  Cameras  and  Plate- 
Holders. 


PHOTOGRAPHING  AT  NIGHT. 

By  means  of  the  Magnesium  Flash  Light  there  is  furnished  an  opportunity 
for  practising  the  art  at  times  which  are  most  convenient  for  amateurs,  as  a 
class.  The  modus  operandi  is  simple  and  interesting.  Owing  to  the  local 
nature  of  the  light  it  is  more  suitable  for  portraits  and  groups.  Although  em- 
bodying no  new  discoveries,  practice  to  any  extent  with  this  light  is  of  recent 
date  only,  and  any  directions  which  I can  now  give  will  doubtless  appear  in- 
complete and  crude  a year  hence. 


DIRECTIONS  FOR  USING. 

Focus  the  subject  on  the  ground  glass  of  the  camera  by  suitable  illumi- 
nation with  either  gas  or  a lamp,  and  arrange  white  muslin  or  paper  side 
reflectors  so  as  to  illuminate  the  shadow  side  of  the  sitter.  Place  a box  of 
the  flash  powder  on  a piece  of  tin  or  iron  (an  old  tin  pie-plate  will  do  very 
well) , and  then  set  this  on  some  support  or  stand,  arranged  in  such  a manner 
that  it  will  be  a foot  or  two  above  the  line  of  the  head  of  the  sitter,  and  suffi- 
ciently behind,  or  to  one  side  of  the  camera,  to  keep  the  flash  from  shining 
directly  into  the  lens.  Then  ignite  the  charge  by  means  of  a long  taper,  at 
least  twelve  or  eighteen  inches  long.  This  is  very  important,  for  the  powder, 
when  ignited,  burns  very  quickly ; and,  if  a short  match  is  used,  or  the  face  of 
the  op>erator  placed  near  the  light,  severe  burning  might  take  place.  . A mull 
screen  or  ground  glass  may  be  placed  between  the  light  and  the  sitter,  to 
soften  the  shadows.  It  is  also  well  to  have  a tin  or  glass  reflector,  of  good 
size,  in  the  rear  of  the  light.  The  exposure  is,  of  course,  instantaneous,  and 
no  head-rest  is  needed. 

In  taking  large  groups,  or  where  the  sitter  is  at  a considerable  distance 
from  the  camera,  more  than  one  box  of  the  powder  may  be  necessary.  Either 
portrait  or  landscape  lenses  can  be  used.  Stops  should  be  employed  with 
rapid  lenses. 

Employ  a soft  developer,  as  for  instantaneous  work,  one  with  excess  of 
alkali. 

FURTHER  FORMULA. 

While  I cannot  give  anything  which  I could  recommend  as  being  more 
safe  and  satisfactory  for  the  beginner  than  that  which  has  already  been  given 
in  these  pages,  yet,  as  there  are  at  present  so  many  different  formulas  for  all 


30  AMATEUR  GUIDE.  IN  PHOTOGRAPHY. 


stages  of  the  picture’s  growth,  with  an  equally  strong  army  of  devotees  to 
each,  I append  a few  well-tried  formula  for  the  experimentalist. 

The  sulphate  of  iron  and  oxalate  of  potash  as  a developer  still  remains  a 
favorite  with  many.  It  may  not  be  as  energetic  in  its  action,  but  the  results 
are  of  a clean,  transparent  nature,  not  to  be  obtained  with  any  of  the  many 
formulas  I have  tried.  I have  found  that  by  commencing  with  a small  amount 
of  iron,  thp  development  is  under  perfect  control,  and  almost  any  results  can 
be  gained.  The  addition  of  five  drops  of  a saturated  solution  of  citric  acid  to 
the  ounce  of  developer,  Avill  help  to  prevent  fog  and  pink  stains. 

FERROUS  OXALATE  DEVELOPMENT. 

Make  saturated  solutions,  with  hot  water,  of  Oxalate  of  Potash  and  Pro- 
tosulphate of  Iron.  Allow  them  to  cool  and  settle  clear.  To  the  Oxalate  add 
enough  of  a solution  of  Oxalic  Acid  to  turn  blue  litmus  red.  To  the  Iron  solu- 
tion add  about  five  drops  of  Sulphuric  acid  to  the  pint.  These  separate  solu- 
tions will  keep  indefinitely. 

For  portraits  and  general  view  work,  where  more  time  can  be  given,  one 
ounce  of  the  Iron  solution,  added  to  six  ounces  of  the  Oxalate,  will  be  found 
best.  For  instantaneous  and  very  short  exposures,  or  interiors  with  strong 
contrasts,  use  one  ounce  of  the  Iron  solution,  added  to  three  ounces  of  the 
Oxalate.  The  development,  fixing,  and  washing  of  the  plate  will  be  as 
described  before. 

TO  REDUCE  AN  OVER-DENSE  NEGATIVE. 

Take  a solution  of  Hyposulphite  of  Soda,  of  about  the  strength  of  fixing 
bath,  and  add  Oxalate  of  Potash  developer  (an  old  solution  answers  as  well), 
until  of  the  tint  of  Sherry  wine.  Into  this  put  the  negative,  and  watch  until  the 
right  density  is  obtained  ; then  wash  well. 


NOTES  AND  INSTRUCTIONS 

GIVEN  BY 

M.  A.  SEED  DRY  PLATE  CO.,  PYRO  AND  SAL  SODA 

DEVELOPER. 


PYRO  STOCK  SOLUTION. 

Sulphite  Soda  Crystals  ...... 

6 ounces. 

(Or  Granulated,  4 oz.) 

Pyrogallic  Acid  ....... 

1 ounce. 

Water  (Ice  or  Distilled)  . . . . . 

16  ounces. 

SAL  SODA  STOCK  SOLUTION. 

* Sal  Soda 

4 ounces. 

(Or  Carbonate  of  Potassium,  8 oz.) 

Water  ........ 

16 

For  Instantaneous  Exposures,  use,  instead  of  Sal  Soda,  Carbonate  of  Potassium. 


AMATEUR  GUIDE  IN  PHOTOGRAPIIT. 


31 


TO  DEVELOP. 

Just  before  development  add  to  six,  eight,  or  ten  ounces  of  water,  one 
ounce  of  Pyro  Solution,  and  one  ounce  of  Sal  Soda  Solution,  or  the  same  of 
Carbonate  of  Potassium  Solution.  (See  foot-note,  page  30.) 

Note.  — The  amount  of  water  used  depends  upon  its  temperature.  If  ice-water  is  used  six 
ounces  will  be  right.  If  the  water  is  over  sixty  degrees,  eight  ounces  should  be  used ; if  over 
eighty  degrees,  ten  ounces.  We  prefer  cool  development,  as  it  gives  the  finest  effect. 

This  developer  may  be  used  repeatedly,  but  will  work  slower  and  with 
more  intensity  when  old.  Therefore,  the  fresh  developer  is  best  for  short 
exposure,  and  the  old  is  better  if  the  plate  has  been  fully  timed.  In  using 
the  Sal  Soda  Developer  it  is  very  important  to  carry  the  development  far 
enough,  until  the  lights  have  sufficient  intensity  when  examining  the  plate  by 
transmitted  light. 

The  quantity  of  Pyro  must  be  according  to  the  density  of  the  negative 
wanted. 

K the  negative  is  too  strong,  use  less  Pyro  ; if  not  strong  enough,  more. 


FIXING  BATH. 


Alum  . . . . 

Hyposulphite  of  Soda  . 
Water 
Filtei’. 


i oz. 

5 oz. 

1 pint, 


Leave  the  plates  a few  minutes  longer  in  the  bath  than  they  require  for 
fixing.  This  is  important,  as  the  permanency  of  the  negative  depends  upon  it. 


N.B.  — The  Sensitometer  number  on  the  box  indicates  the  rapidity  of  the  plate.  For  instance, 
if  you  give  one  second  for  No.  22,  No.  21  will  require  one  and  a half  seconds ; No.  20,  two  seconds. 


Defects  in  Dry-Plate  Negatives  and  their 

Remedies. 

WANT  OF  DETAIL  IN  LIGHTS  AND  SHADOWS. 

It  is  generally  supposed  to  be  due  to  under  exposure,  but  this  is  not 
always  the  case.  For  instance,  I expose  a plate  four  seconds.  It  develops 
in  from  one  to  two  and  a half  minutes,  and  the  result  is  with  the  above  defect. 
It  is  a proof  that  I have  used  more  Pyro  than  the  plate  required.  Now,  I will 
try  again.  I take  a plate  out  of  the  same  box,  give  three  seconds’  exposure, 
use  only  half  the  amount  of  Pyro  Stock  Solution  to  the  usual  amount  of  Sal 
Soda  Stock  Solution,  and  the  negative  will  develop  in  three  or  three  and  a half 
minutes ; result,  a fine  negative  in  definitions  and  brilliancy.  On  the  other 
hand,  a negative  may  have  precisely  the  same  appearance  as  the  foregoing  one, 
but  it  took  from  five  to  ten  minutes  to  develop.  Try  another,  and  you  double 
the  amount  of  exposure. 


32 


AMATEUR  GUIDE  IN  PHOTOGRAPET. 


GRANULARITY  OF  NEGATIVE. 

This  defect  generally  appears  during  the  -warm  ■weather.  There  are  two 
causes,  — one  the  result  of  insufficient  mixing  of  the  developer  before  pouring 
over  the  plate,  especially  if  too  strong  and  too  high  ternperature.  Eemedy. 
— Dilute  the  developer  with  water  one-third,  or  use  ice-water  without  the 
dilution. 

Another  cause  is  the  fixing-bath  being  too  milky,  thi'ough  containing  too 
much  alum.  Reseedt.  — Never  use  a fixing-bath  which  is  muddy.  Filter  it. 

FLATNESS,  OR  WANT  OF  HIGH  LIGHTS  IN  NEGATIVE. 

This  generally  is  due  to  overtiming.  The  more  rapid  the  plate  the  less 
latitude  you  have  in  time  of  exposure.  A slower  plate  alwaj’s  gives  a wider 
range.  Too  much  Sal  Soda  produces  flatness,  also  a developer  weak  in  Pyro. 

SMALL,  ROUND,  SHARPLY-DEFINED  TRANSPARENT  SPOTS. 

Some  photographers  wet  their  plates  before  applying  the  developer.  If 
this  is  not  thoroughly  done,  air  bubbles  will  be  formed  on  the  surface,  and 
hence  cause  the  spots  above  referred  to.  With  our  plates  wetting  is  un- 
necessary. 

Another  cause  of  similar  spots  is  using  water  for  the  developer  which 
contains  vegetable-matter,  causing  it  to  bubble  more  or  less  while  pouring  it 
on  the  plates.  Remedt.  — Use  only  ice  or  distUled  water. 

On  account  of  the  exti’eme  rapidity  of  our  plates,  great  care  should  be 
taken  that  they  are  developed  in  a suitable  light. 

Test.  — Expose  one-half  of  a plate  three  minutes  to  your  light  in 
developing-room  and  develop.  If  the  part  exposed  is  as  clear  as  the  unex- 
posed part  yom-  light  is  safe. 


Directions  for  using  the  “ Hub  ” Concentrated 
Universal  Developer. 

By  THE  BLAIR  CAMERA  CO. 

To  Develop.  — For  a 5 x 8 plate  take  of  Stock  Solution  No.  1 [Ptro], 
half  an  oz.  ; of  Stock  Solution  No.  2 [Ar.KAi.ij,  one-quarter  oz.  ; of  water 
[better  filtered]  three  ounces.  Flow  this  over  the  plate,  and  if  the  image  does 
not  appear  within  twenty  or  thirty  seconds  add  more  of  No.  2,  a few  drops  at 
a time,  until  development  commences  ; allow  this  to  proceed  without  further 
addition  nntil  the  plate  has  reached  the  proper  density.  This  developer  can 
be  used  repeatedly  for  a number  of  plates  by  occasionally  strengthening  it  as 
the  action  grows  weak,  by  adding  a drachm  or  two  of  each  of  the  No.  1 and 
No.  2 Solutions.  When  fresh  it  answers  best  for  short  exposures,  but  after 
hartng  been  used  once  or  twice  it  will  produce  more  contrast,  and  is  better  for 
over-exposed  plates. 

For  Over-exposed  Plates.  — Restrain  the  action  of  the  developer  bj^  the 
addition  of  a few  drops  of  Bromide  Solution  [Bromide  Potassimn,  1 oz.. 
Water,  10  ozs.j 

For  Instantaneous  Exposures  and  Under-exposed  Plates. — Use  a diluted 
developer  weak  in  Pyi’o ; for  instance,  two  drachms  of  No.  2,  one  drachm 


r 


AMATEUR  GUIDE  IN  PHOTOGRAPHY.  33 


No.  1,  and  four  ounces  of  water;  use  plenty  of  solution,  keep  it  cool,  and 
change  it  several  times  if  the  exposure  has  been  so  short  as  to  require  pro- 
longed development. 

Bear  in  mind  these  three  cardinal  principles  of  development : — 

Pifro  is  the  developer,  and  gives  density. 

Alkali  is  the  accelerator,  and  gives  detail. 

Bromide  restrains  and  keeps  the  shadows  clear. 

Directions  for  using  The  “Hub”  Concentrated 
Hydrokinone  Developer. 

By  THE  BLAIR  CAMERA  CO. 

To  Develop.  — Take  of  Stock  Solution  No.  1 (Hydrokinone) , half  an 
oz.  ; of  Stock  Solution  No.  2 (Alkali),  half  an  oz.  ; water,  2 ounces;  and 
one  or  two  drops  of  a 10-per  cent.  Solution  of  Bromide  of  Potassium.  The 
water  should  be  either  warm  or  iced,  according  to  the  season,  in  order  to  give 
the  Developer  the  proper  temperature.  The  image  will  make  its  appearance 
rather  slowly,  on  a properly-exposed  plate,  in  about  two  or  three  minutes  ; 
but,  once  started,  development  will  proceed  rapidly  and  pi’ogressively  to  the 
attainment  of  the  finest  detail  and  any  required  density.  The  film  will  never 
become  stained  under  the  most  protracted  development,  and,  owing  to  the 
strong  tanning  action  of  the  Hydrokinone,  frilling,  even  in  a warm  solution, 
is  exceedingly  rare.  The  same  conditions  that  govern  Pyro  development  with 
regard  to  intensity  and  detail  hold  good  in  the  case  of  Hydrokinone,  an 
increase  giving  strength  and  dilution  producing  detail.  Should  the  action 
proceed  rather  slowly  toward  the  close  of  the  operation,  add  a little  more  of 
the  No.  2 Solution.  The  plate  should  then  be  well  rinsed  and  fixed  in  Hypo, 
as  usual. 

This  mixed  Developer  can  be  used  over  and  over  again  for  a number  of 
plates  without  any  addition  whatever,  and  is  suitable  for  ordinary  nega- 
tives, line-work  negatives  for  photo-engravers,  transparencies,  and  lantern- 
slides.  For  the  latter,  as  the  Developer  grows  older,  the  time  of  exposure 
should  be  slightly  lengthened.  After  using,  this  Developer  can  be  bottled  and 
set  to  one  side,  and  will  serve  as  an  excellent  “starter”  for  several  subse- 
quent exposures.  It  never  fogs  the  plates  under  the  most  protracted  develop- 
ment, and  gives  the  most  beautiful  clearness  and  detail  in  the  deepest 
shadows.  Although  the  first  cost  is  greater  than  that  of  the  Pyro  and  Soda 
Developer,  it  is  really  more  economical,  owing  to  the  extended  use  that  can  be 
made  of  a single  mixture. 

Formulas  and  Directions  for  Working  the 
Cramer  Lightning  Plates. 

By  G.  CRAMER. 

Bear  in  mind  that  very  rapid  plates  are  sensitive  to  light  of  any  color. 
The  safest  light  is  a combination  of  a ruby  and  yellow,  just  strong  enough  to 
enable  you  to  judge  of  the  intensity  of  negative  and  progress  of  develop- 
ment, and  the  plate  should  not  be  held  close  to  the  light  for  examination  for 
more  than  a few  seconds. 


34 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


The  following  combinations  make  a safe  light : — 

Orange-colored  Paper  with  Ruby  Glass. 

Orange  glass  with  Cherry  fabric. 

Ruby  glass  with  Canary  fabric. 

Orange  and  Ruby  Glass  combined  with  Ground  Glass. 

Green  is  not  as  non-actinic  as  ruby  and  yellow  combined,  and  it  has 
furthermore  the  disadvantage,  that  with  it  the  intensity  of  a negative  cannot 
be  judged  so  well  as  with  the  ruby  light. 


DEVELOPER. 

(Formula  No.  ii.) 
ALKALINE  SOLUTION. 

Sulphite  of  Sodium  Crystals  ..... 
Carbonate  of  Sodium  Crystals  (Sal  Soda) 

W ater  ......... 


64 


ounces. 


The  Alkaline  Solution  as  well  as  the  Sulphite  of  Sodium  must  be  kept  in 
well-stoppered  bottles.  If  old  and  decomposed  it  will  cause  yellow  stain. 

If  dried  or  granular  Sulphite  of  Sodium  is  used,  3 ounces  will  be  found 
equal  to  6 ounces  Crystals.  . ^ 

Twelve  drachms  Carbonate  of  Sodium  Crystals  (Sal  Soda)  are  equivalent 
to  5 drachms  Carbonate  of  Sodium  dried  or  6 drachms  Carbonate  of  Potassium. 


PYRO  SOLUTION. 

Distilled  or  pure  Ice-water  .......  6 ounces. 

Sulphuric  Acid  . . . . . . . . .15  minims. 

Sulphite  of  Sodium  Crystals  .......  1 drachm. 

After  this  is  dissolved  — add  Pyrogallic  Acid  ...  1 ounce. 

The  solution  should  have  a bright  yellow  color  and  smell  like  burning 
sulphur,  owing  to  the  liberation  of  Sulphurous  Acid,  which  preserves  the 
Pyro. 

TO  DEVELOP. 


DURING  COLD  WEATHER  use  8 ounces  Alkaline  Solution  and  from 
2 to  5 drachms  Pyro  Solution  ; keep  moderately  warm  (from  65  to  70  degrees 
Fahrenheit) . 

IN  HOT  WEATHER  add  to  4 ounces  Alkaline  Solution  4 ounces  cold 
water  and  from  2 to  4 drachms  Pyro  Solution,  and  keep  it  cool  (below  60 
degrees  Fahrenheit) . 

Developer  which  is  too  warm  or  contains  too  much  Carbonate  of 
Soda  or  Potassiuji  will  work  foggy. 

Three  drachms  Pyro  Solution  will  generally  be  found  sufllcieut  for  8 
ounces  Developer  to  produce  good  intensity,  if  the  plates  are  not  over- 
exposed AND  IF  THE  DEVELOPMENT  IS  CARRIED  ON  FAR  ENOUGH. 

Tlie  Developer  can  be  used  repeatedly. 

When  fresh,  it  answers  best  for  short  exposures. 

After  having  been  used  once  or  twice,  it  will  work  with  more  contrast  and 
clearness  ; therefore  it  is  well  to  add  a little  old  Developer  to  the  new.  For 
over-exposed  plates  old  Developer  should  be  used,  and  if  much  over-exposed, 
restrain  by  adding  to  the  Developer  a few  drops  of  Bromide  Solution  (1  ounce 
Bromide  of  Potassium  to  10  ounces  of  water). 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


35 


An  under-exposed  plate  should  be  treated  with  diluted  Developer,  weak  in 
Pyro,  for  instance:  4 ounces  Alkaline  Solution,  1 drachm  Pyro  Solution,  and 
8 ounces  of  water  ; use  plenty  of  Solution,  keep  it  cool,  and  change  it  several 
times  if  the  exposure  has  been  so  short  as  to  require  prolonged  development. 

FIXING-BATH. 

1 pound  Hyposulphite  of  Soda. 

1 gallon  of  Water. 

Do  not  expose  the  plate  to  the  light  before  it  is  fixed,  and  leave  it  in  the 
bath  a few  minutes  longer  than  apparently  necessary,  to  insure  thorough 
fixing. 

To  PREVENT  Yellow  Staining  of  Negatives  it  is  of  the  utmost  Im- 
portance TO  RENEW  THE  HyPO  BaTH  AS  SOON  AS  THE  SOLUTION  TURNS  DARK. 

After  fixing,  place  the  negative  in  dish  containing  cold  Alum  Solution ; 
let  it  remain  about  15  minutes  to  harden  the  film,  then  wash  thoroughly. 

In  hot  weather,  when  there  is  danger  of  frilling  or  softening  of  the 
film,  use  the  following  : — 

FIXING-BATH  FOR  HOT  WEATHER. 

Dissolve  2 pounds  Hyposulphite  of  Soda  1 

J pound  Bicarbonate  of  Soda  > in  2 gallons  of  water. 

2 pounds  powdered  Alum  J 

Allow  it  to  stand  a couple  of  days  until  settled,  then  decant  the  clear  solu- 
tion for  use.  This  Bath  will  fix  somewhat  slower  than  the  plain  Hypo  Bath, 
but  will  produce  very  clear  negatives  and  will  harden  the  film  so  thoroughly 
as  to  allow  subsequent  washing  without  the  use  of  ice.  It  should  be  used  in 
tropical  climates. 


If  the  Development  was  in  Harmony  with  the  Exposure,  the 
Negative  will  not  need  any  Intensifying  or  Reducing. 

If  too  thin  from  insufficient  Developing,  the  negative  should  first 
be  well  washed  to  eliminate  all  traces  of  Hypo,  and  can  then  be  strengthened 
with 

INTENSIFYING  SOLUTION. 

Prepare  a saturated  solution  of  Bichloride  of  Mercury  in  water,  and 
pour  of  this  a sufficient  quantity  gradually  into  a solution  of  1^  ounces  Iodide 
of  Potassium  in  6 ounces  water,  until  the  point  is  reached  when  the  forming 
red  precipitate  will  no  longer  dissolve  by  shaking,  but  be  careful  not  to  add 
more  mercury  than  just  enough  to  make  the  solution  very  slightly  turbid. 
Now  add  one  ounce  of  Hyposulphite  of  Soda  in  crystals,  dissolve  and  fill  up 
with  water  to  make  20  ounces  solution.  This  should  be  diluted  with  about 
three  parts  of  water  for  use  and  strengthened  from  the  stock  solution  as 
required.  If  traces  of  Hypo  are  left  in  the  film,  the  application  of  intensify- 
ing solution  will  produce  yellow  stains,  which  may  be  removed  by  soaking  the 
plate  in  weak  Hypo  (1  Hypo  to  20  water).  Be  careful  not  to  overdo  the 
intensifying.  Should  it  have  gone  too  far,  the  negative  can  be  reduced  again 
by  placing  in  fixing-bath  for  a short  time. 

Intensifying  should  be  avoided,  as  the  desired  results  can  be  obtained  by 
proper  delvelopment. 


36 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


FOR  REDUCING  INTENSITY. 

Dissolve  one  ounce  of  Red  Prussiate  of  Potash  in  a pint  of  water. 
Wrap  the  bottle  in  yellow  wrapping-paper,  as  the  solution  is  affected  by  light 
and  will  not  keep  long.  Immerse  the  negative  in  Hypo  Solution,  one  ounce 
Hypo  to  a pint  of  water,  to  which  has  been  added  a little  of  the  above  im- 
mediately before  use. 

When  reduced  enough  wash  thoroughly. 

THE  FINAL  WASHING 

should  be  a thorough  one,  as  the  chemicals,  especially  the  Hypo,  are  more 
difficult  to  eliminate  from  a gelatine  film  than  from  a collodion  plate.  To  in- 
sure perfect  washing,  would  recommend  the  use  of  a Washing  Tank,  with 
slanting  grooves  for  the  plates,  which  rest  on  strips  placed  about  an  inch 
above  the  bottom  of  tank,  allowing  a free  circulation  of  water  underneath  and 
around  the  plates.  The  water  should  enter  at  the  bottom  and  overflow  on  top. 
Let  the  plates  remain  in  the  tank  for  at  least  half  an  hour  in  running  water. 
If  no  hydrant  is  at  hand  wash  an  hour  by  changing  the  water  often.  If, 
through  imperfect  washing,  the  Hypo  has  not  been  thoroughly  eliminated  it 
will  cause  the  negative  to  turn  brown,  and  fade  more  or  less  rapidly,  and 
sometimes  show  crystallization  of  the  Hypo  on  the  film  when  dry. 

After  the  washing  of  the  negative  is  completed,  pass  a clean  tuft  of  cotton 
or  a soft  camel-hair  brush  over  the  surface,  to  remove  any  sediment  from  the 
water  adhering  to  the  film,  and  set  aside  to  dry  without  heat.  After  the  nega- 
tive is  perfectly  dry  it  may  be  heated  and  varnished  with  any  good  negative 
varnish. 

FAILURES. 

Foggy  Negatives.  — Caused  by  over-exposure ; white  light  entering 
camera  or  dark-room ; too  much  light  during  development ; decomposed 
Pyro  ; introduction  of  Hypo  or  Nitrate  of  Silverin  to  the  developing  solution 
from  the  fingers  or  from  tablets  used  for  wet  plates  ; Developer  too  warm  or 
containing  too  much  Carbonate  of  Soda  or  Potassium. 

Weak  Negatives  with  Clear  Shadows. — Under-development. 

Too  Strong  with  Clear  Shadows. — Under-exposure. 

Weak  Negatives  with  Plenty  of  Detail  in  the  Shadows. — Want 
OF  Intensity,  caused  by  over-exposure.  Shorter  exposure  with  longer  devel- 
opment will,  in  most  cases,  produce  sufficient  intensity,  and  an  addition  of 
more  Pyro  Stock  solution  to  the  Developer  will  seldom  be  necessary. 

Fine  Transparent  Lines.  — Using  too  stiff  a brush  in  dusting  off  the 
plates. 

Transparent  Spots. — Dust  on  the  plate,  or  air-bubbles  while  devel- 
oping. 

Crystallizations  on  the  Negative  and  Fading  of  Image.  — Imperfect 
elimination  of  the  Hypo. 

Yellow-colored  Negatives  are  caused  by  not  using  enough  Sulphite 
of  Sodium  in  developer,  or  if  the  article  used  is  old  and  decomposed. 

Yellow  Stains  are  caused  by  using  old  Hypo  Bath  which  has  assumed  a 
dark  color,  or  by  not  leaving  plate  in  Hypo  Bath  long  enough. 

Mottled  Appearance  of  negative  is  caused  by  precipitation  from  Fixing- 
Bath  containing  alum,  if  the  solution  becomes  old,  or  if  it  is  turbid. 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


37 


WEIGHTS  AND  MEASURES. 

APOTHECARY’S  WEIGHT. 


SOLID  MEASURE. 


20  Grains 
3 Scruples 
8 Drachms 
12  Ounces 


= 1 Scruple  = 

= 1 Drachm  = 

= 1 Ounce  = 480 
= 1 Pound  = 5760 


20  Grains. 
60  “ 


60  Minims 
8 Drachms 
20  Ounces 
8 Pints 


FLUID. 

= 1 Fluid  Drachm 

- 1 Ounce 
. : 1 Pint 

- 1 Gallon 


Symbol. 

f.3. 

f.§. 

O.3. 

gall. 


The  above  weights  are  those  usually  adopted  in  formulae. 

All  Chemicals  are  usually  sold  by 


AVOIRDUPOIS  WEIGHT. 


27-|-|  Grains  1 Drachm  = 


16  Drachms  — 1 Ounce  = 

16  Ounces  = 1 Pound  = 7000 


27^|-  Grains. 


437| 


Precious  MetalS'  are  usually  sold  by 

TROY  WEIGHT. 

24  Grains  = 1 Pennyweight  = 24  Grains. 

20  Pennyweights  = 1 Ounce  = 480  “ 

12  Ounces  = 1 Pound  = 5760  “ 

Note.  — An  ounce  of  metallic  sliver  contains  480  grains,  but  an  ounce  of 
nitrate  of  silver  contains  only  43 7|^  grains. 

FRENCH  WEIGHTS  AND  MEASURES. 


AND  THEIR  EQUIVALENTS  IN  ENGLISH. 

Cubic  Centimetre  = 17  minims  nearly. 


= 1 draclim. 

= 1 ounce. 

= 1 ounce  6 drachms  5 minims. 


= 3 ounces  4 drachms  0 minims. 


= 35  ounces  1 drachm  36  minims. 


28.4  “ “ 

50  “ “ 

100  “ “ 

1000  “ “ 

or  1 litre, 

= to  61  cubic  inches 
The  unit  of  French  liquid  measures  is  a cubic  centimHre. 

A cubic  centimUre  of  water  measures  nearly  17  minims  (16.896)  ; it 
weighs  15.4  grains,  or  1 gramme.  A cubic  inch  of  water  weighs  252.5  grains. 

The  unit  of  French  weights  is  the  gramme  = to  15.4  grains;  thus,  a 
drachm  (60  grains)  is  nearly  4 grammes  (3.88).  An  easy  way  to  convert 
grammes  into  English  weight  is  to  divide  the  sum  by  4,  which  gives  the  equiva- 
lent in  drachms  very  nearly  thus  : — 

Grammes.  Drachms.  Oz.  Drachm.  Grains. 

100  -h  4:  = 25  = 3 . 1 -f  43 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


38 


Contact  Printing  with  Permanent  Bromide 

Paper. 

Bt  G-eo.  Eastman,  op  the  Eastman  Dry  Plate  and  Film  Co. 

Light.  — In  contact  printing  with  Permanent  Bromide  Paper  the  ex- 
posnre  is  preferably  made  by  artificial  light,  to  insure  uniformity  and  to  avoid 
over-exposure. 

The  Darh-Room.  — Yellow  post-office  paper  is  the  best  medium  for  filter- 
ing the  light  through  for  working  Permanent  Bromide  Paper  ; two  thicknesses 
should  be  used  for  daylight,  and  one  for  gas  or  kerosene. 

Sensitiveness.  — Permanent  Bromide  Paper  is  about  one-half  as  sensitive 
as  a Collodion  wet  plate,  or  one-twentieth  as  sensitive  as  a good  dry  plate, 
and  should  be  exposed  accordingly. 

Exposure.  — The  exposure  varies  with  the  intensity  of  the  negative  and 
the  quality  and  intensity  of  the  light,  but  may  be  approximately  stated  to  be, 
using  as  thin  a glass  or  American  film  negative  as  will  make  a good  print, 
one-quarter  second  by  diffused  daylight,  or  ten  seconds  at  a distance  of  one 
foot  from  a No.  2 kerosene  burner  ; with  an  oiled  paper  negative  it  requires 
twice  as  much,  and  with  an  nnoiled  paper  negative’about  three  to  five  times 
as  much  exposure.  Vei’y  thin  negatives  should  be  printed  by  weak  yellow 
light,  like  that  obtained  from  a kerosene  lamp  turned  down  a little  below  the 
normal  intensity.  In  this  way  a strong,  vigorous  print  may  be  obtained  from 
a negative  that  would  otherwise  be  too  thin  and  flat.  Strong,  intense  nega- 
tives are  best  printed  by  daylight. 

THE  DEVELOPER. 

FORMULA. 

No.  2. 

1 lb.  Proto- Sulphate  of  Iron  . . 1 lb. 

48  oz.  Hot  Water 32  oz. 

3 drams.  Acetic  (or  Citric  Acid,  \ oz.),  | dram. 

No.  3. 

Bromide  Potassium  . . 1 ounce.  Water 1 quart. 

These  solutions  keep  separately,  but  must  be  mixed  only  for  immediate 

use. 

To  Develop.  — Take  in  a suitable  ti’ay  — No.  1,  6 ounces;  No.  2,  1 
ounce  ; No.  3,  dram. 

Soak  the  exposed  print  in  clean  water  until  limp,  then  pour  off  tlie  water 
and  flood  with  the  developer,  taking  care  to  avoid  bubbles. 

The  image  should  appear  slowly,  and  should  develop  up  strong,  clear, 
and  brilliant.  When  the  shadows  are  sufficiently  black,  pour  off  the  developer 
and  flood  the  print  with  the 


No.  1. 

Oxalate  of  Potash  . 
Hot  Water  . . . . 
Acetic  Acid  . . . . 


CLEARING  SOLUTION. 

Acetic  Acid 1 dram.  Water 32  oz. 

Do  not  ivash  the  print  after  pouring  off  the  developer  and  before  applying 
the  clearing  solution. 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


39 


Use  a sufficient  quantity  to  flow  over  the  print,  say  2 ounces  for  an  8x10. 
Allow  it  to  act  for  one  minute,  and  then  pour  it  off  and  apply  a fresh  portion  ; 
repeat  the  operation  a third  time,  then  rinse  in  four  changes  of  pure  water, 
and  immerse  for  ten  minutes  in  the 

FIXING— BATH. 

Hyposulphite  Soda  . . 3 ounces.  Water 16  ounces. 

After  fixing,  wash  thoroughly  two  hours,  in  at  least  twelve  changes  of 
water,  and  hang  up  to  dry.  Use  fresh  developer  for  each  batch  of  prints. 
With  a glass-bottomed  tray,  seven  ounces  of  developer  are  sufficient  for  a 
25  X 30  print. 

Object  of  Clearing  Solution.  — The  object  of  the  clearing  solution  is  to  pre- 
vent the  precipitation  of  the  iron  from  the  developer  in  the  fibre  of  the  paper. 
This  can  only  be  done  by  keeping  the  paper  acid  while  washing  out  the 
developer. 

Citric  Acid  may  be  used  instead  of  Acetic  in  the  clearing  solution,  in 
which  case  use  ounce  to  the  quart  of  water.  Citric  Acid  is  less  liable  to 
cause  blisters. 

Blisters  sometimes  appear  in  Bromide  Paper,  and  may  be  avoided  by 
using  a little  common  salt  in  the  first  washing-water  after  fixing.  The  Hypo 
must  not  be  stronger  than  three  ounces  to  the  pint  of  water. 

No  Toning  Required.  — With  the  Permanent  Bromide  Paper  the  final 
tones  are  obtained  entirely  by  development,  and  range  from  a soft  gray  to  a 
rich,  velvety  blacky  depending  somewhat  upon  the  density  of  the  negative 
and  the  quality  of  the  light  used  in  printing. 

Clean  Dishes,  Clean  Hands.  — The  faintest  trace  of  Hyposulphite  of 
Soda  or  of  Pyrogallic  Acid  is  fatal  to  good  results  with  Bromide  Paper,  and 
the  operator  cannot  be  too  careful  to  avoid  any  contamination.  The  tray  used 
for  developing  with  oxalate  should  never  be  used  for  anything  else. 

To  avoid  Yellow  Prints  four  things  are  absolutely  necessary  : — 

First.  — The  developer  must  be  acid. 

Second.  — The  clearing  solution  must  be  used  as  directed. 

Third. — Fresh  Hypo  solution  is  required  for  fixing  each  batch  of 
prints. 

Fourth.  — The  washing  must  be  thorough  after  fixing. 

Mounting  on  Card.  — Permanent  Bromide  Prints  may  be  mounted  wet  or 
dry  ; the  prints  should  not  be  dried  between  blotters  like  albumenized  paper, 
but  should  be  hung  over  a line,  or  laid,  back  down,  upon  glass  or  clean  paper. 
To  mount,  brush  over  the  back  with  thin  starch  paste,  laj^  the  print  on  the 
mount,  and  rub  into  contact  with  a soft  cloth. 

Enamelling.  — Prints  on  smooth  paper  may  be  given  a beautiful  polished 
surface,  superior  to  that  obtained  by  burnishing,  in  the  following  manner  : 
Sprinkle  the  surface  of  a glass  plate  with  powdered  French  chalk,  rub  it 
evenly  over  the  surface  with  a tuft  of  cotton  wool,  continuing  to  lightly  rub 
it  until  the  chalk  is  all  removed,  then  coat  the  glass  with  the  following 


Soluble  Gun-Cotton 

COEEODION. 

48  grains. 

Alcohol 

4 ounces. 

Sulphuric  Ether  . 

. 

, . 4 ounces. 

40 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


As  soon  as  the  collodion  is  well  set,  wash  until  all  greasiness  disappears  ; 
then  slide  the  plate,  face  up,  into  a tray  of  water,  in  which  is  floating,  face 
down,  the  permanent  bromide  print,  which  has  just  been  fixed  and  washed  ; 
grasp  the  plate  and  print  by  one  end,  and  lift  together  from  the  water,  avoid- 
ing bubbles,  and  draining  the  water  from  the  opposite  end ; squeegee  the  print 
into  contact  with  the  plate,  and  set  away  to  dry.  Before  the  print  is  quite 
dry  apply  a coat  of  starch  paste  to  the  back.  After  drying,  the  print  can  be 
peeled  off  from  the  glass  by  cutting  through  to  the  star,  near  the  margin  of 
the  paper,  all  round,  and  lifting  one  corner,  and  the  face  will  present  a polish 
almost  as  high  as  the  surface  of  the  glass  from  which  it  has  been  removed. 

The  print  is  then  ready  to  mount,  as  follows  : Moisten  the  face  of  the  mount 
with  a damp  sponge  and  lay  upon  it  the  print ; rub  down  with  a soft  cloth 
and  put  under  pressure  to  dry. 

The  addition  of  five  per  cent,  of  glycerine  to  the  paste  will  prevent  the 
print  peeling  off  the  glass  as  it  dries. 

Another  Method.  — Squeegee  the  wet  print,  face  down,  on  a polished 
piece  of  hard  rubber  or  ebonite  ; when  dry,  the  print  will  peel  off  with  a fine 
polished  surface.  The  print  should  be  slipped  on  to  the  rubber  plate  under 
water  to  avoid  air-bells.  This  method  will  answer  where  prints  are  not  to  be 
mounted. 

Flexible  Prints.  — Permanent  Bromide  prints  soaked  in  a mixture  of 
glycerine,  five  ounces,  and  water,  twenty-five  ounces,  and  dried,  will  not  curl, 
and  may  be  used  for  book  illustrations  unmounted.  The  heavier  papers  are 
especially  adapted  for  this  pur-pose. 

Straightening  Unmounted  Prints.  — After  drying,  prints  may  be  straight- 
ened by  the  scraping  action  of  a sharp-edged  ruler  applied  to  the  back ; the 
corner  behind  the  ruler  being  lifted  as  the  ruler  is  passed  along. 

ENLARGING  APPARATUS. 

The  operation  of  enlarging  on  Permanent  Bromide  Paper  involves  the 
same  principles  as  making  a negative  ; it  is  simply  photographing,  on  a large 
scale,  the  negative  instead  of  the  original.  To  avoid  the  necessity  of  using 
a large  camera  the  dark-room  itself  is  made  to  take  the  place  of  the  camera  I 

body,  and  the  negative  is  placed  in  an  opening  in  the  dark-room  shutter,  so 
that  all  the  light  will  come  through  it  to  the  lens.  See  Fig.  1. 


Fie.  1. 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


41 


AN  IMPROVISED  APPARATUS. 


Fig.  1 represents  an  enlarging  apparatus  that  any  photographer  can 
improvise  from  ordinary  apparatus  and  material,  with  the  expenditure  of  a 
few  hours’  time.  To  construct  it  proceed  as  follows  : — 

Cut  a hole  in  the  dark-room  shutter  two  sizes  larger  than  the  largest 
negative  to  be  enlarged  from  ; fit  into  the  opening  a frame  about  two  or  three 
inches  deep,  glazed  on  the  outside  with  a sheet  of  ground  glass.  On  the  in- 
side edges  of  the  frame,  top  and  bottom,  arrange  grooves  in  which  to  slide 


the  negative  ; when  the  negative  is  in  position  it  will  be  brilliantly  illuminated 
against  the  ground  glass.  Now,  on  a table  or  shelf,  adjusted  in  front  of  the 
negative  box,  place  an  ordinary  camera  having  the  ground  glass  removed, 
point  the  lens  toward  the  negative,  and  connect  the  lens  and  negative-box  by 
means  of  a bag  of  opaque  cloth,  open  at  both  ends  and  provided  with  elastic 
bands  to  close  it  tight  around  the  lens  and  negative-box.  This  will  prevent 
any  light  coming  into  the  dark-room  except  through  the  lens.  See  Figs.  1 
and  2. 

In  this  apparatus  the  camera  body  serves  no  useful  purpose ; all  that  is 
required  is  to  support  the  lens.  In  case  a portrait-lens  is  used  it  should  be 
put  in  position  so  that  the  back  lens  will  be  next  the  negative  instead  of  as 
shown  in  the  cut. 

The  easel  to  hold  the  sensitive-paper  is  the  next  requisite,  and  this  may 
be  constructed  by  fastening  a large,  flat  board  in  an  upright  position,  upon  a 
box  of  suitable  size  to  serve  as  a base,  so  that  the  whole  may  be  moved  to  and 
fro  to  regulate  the  size  of  the  enlargement.  The  face  of  the  easel  should  be 
covered  with  white  paper.  Now,  if  the  easel  is  put  in  position,  facing  the 
camera,  the  image  can  be  focussed  on  the  screen  by  sliding  the  camera  back- 
ward or  forward  on  the  shelf. 

The  size  of  the  enlargement  will  depend  upon  the  length  of  focus  of  the 
lens,  and  the  distance  the  easel  is  set  from  the  negative.  The  following  table 
will  give  an  approximate  idea  of  the  distance  required  for  the  apparatus  to 
work  in : — 


Fig.  2. 


42 


AMATEUR  GUIDE  IN  PHOTOGRAPHT. 


TIMES  OF  ENLARGEMENT. 

TOTAL  DISTANCES  FROM  NEGATIVE,  IN  INCHES. 


2 

times. 

3 times. 

4 times. 

5 times. 

Focus  of 

To 

To 

To 

To 

To 

To 

To 

To 

Lens 

Easel. 

Camera. 

Easel. 

Camera. 

Easel. 

Camera. 

Easel. 

Camera. 

6 inches. 

27 

9 

32 

8 

374 

74 

49 

7 

8 “ 

36 

12 

42| 

101 

50 

10 

654 

9J 

10  “ 

45 

15 

531 

13i 

624 

124 

81| 

m 

12  “ 

54 

18 

64 

16 

75 

15 

98 

14 

From  the  above  table  it  will  be  seen  that  the  total  distance  requb-ed  for 
woi’king  the  easel  when  making  a six-times  enlargement  and  using  a 12-incb 
lens,  is  less  then  ten  feet.  For  heads  from  cabinet  negatives  a six-inch  focus 
lens  is  quite  large  enough,  and  when  such  a lens  is  used  for  life-size  heads, 
they  can  be  made  in  a space  of  less  than  five  feet. 


THE  LENS. 

Any  lens  that  will  make  a negative  can  be  used  for  enlarging,  and  the 
proper  size  for  the  lens  depends  wholly  upon  the  negative  to  be  enlarged  from, 
and  not  at  all  upon  the  enlargement  to  be  made.  If  the  lens  will  cover  the 
negative,  it  will  make  an  enlargement  from  it  of  anj^  size. 

For  enlarging  from  negatives  5x8  inches  and  under,  a half-size  portrait 
lens  is  suitable.  It  can  be  worked  nearly  wide  open  to  heads,  but  will  liave  to 
be  stopped  down  for  half  and  full-length  figures.  Rapid  rectilinear  lenses  are 
also  suitable,  but,  of  course,  do  not  work  quite  as  quick  on  lieads  as  portrait 
lenses,  because  they  have  not  as  large  aperture,  but  they  should  be  used  in  pref- 
erence to  others  for  enlarging  groups,  landscapes,  mechanical  drawings,  etc. 
For  full  and  half-length  figures  they  are  quite  as  rapid,  because  for  this  pur- 
pose the  portrait  lens  requires  to  be  stopped  down  as  far  as  the  rapid  recti- 
linear. 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


48 


A COMPLETE  APPARATUS. 


Fig.  3. 


While  the  foregoing  directions  will  enable  any  one  to  construct  a practical 
apparatus  for  enlarging,  many  will  prefer  a more  convenient  and  finished  outfit, 
and  for  such  the  following  apparatus  has  been  devised.  See  Figs.  3 and  4. 

The  Camera.  — The  Camera  is  simi- 
lar to  an  ordinary  “front  focus”  View 
Camera,  except  in  the  back,  which  has  a 
fixed  ground  glass  and  a carrier  for  the 
negative,  w'hich  slides  into  the  camera 
inside  the  ground  glass.  This  carrier  is 
adjustable  so  that  it  will  take  any  nega- 
tive from  X 4^  inches,  or  smaller,  up 
to  and  including  8 X 10  inches.  Piwdsion 
is  made  in  the  back  for  making  a light- 
tight joint  around  the  opening  of  the 
dark-room  shutter,  into  which  the  camera 
fits. 

The  Easel  consists  of  a base,  support- 
ing two  uprights,  in  which  slides  the  ex- 
posing screen.  On  the  face  of  the  screen 
sM'ings  a hinged  frame,  which  clamps  the 
sensitive-paper  flat  in  position.  The  swing- 
ing frame  is  arranged  to  receive  smaller 
frames  or  kits,  adapted  to  clamping  any 
size  of  paper.  On  the  top  of  the  screen 
is  a light-tight  box,  provided  with  bear- 
ings, in  which  revolves  the  spool,  carrying 
the  roll  of  sensitive-paper.  Each  box  is 
supplied  with  a wooden  spool,  and  the 
paper  is  wound  for  the  market  upon  a 


44 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


strong  paper  tube,  which  slides  on  to  the  wood  spool.  Thus,  a tube  carrying 
any  width  of  paper,  not  above  the  capacity  of  the  easel,  can  be  used  with 
the  same  box. 


THE  LIGHT. 

Daylight.  — A long  series  of  experiments,  with  various  kinds  of  light, 
have  proven  that  except  in  eases  where  a large  number  of  enlargements  are 
to  be  made  each  day,  daylight  is  the  best. 

The  only  drawbacks  to  daylight  are,  that  it  is  not  available  at  iright,  and 
that  it  varies  in  its  intensity,  rendering  the  timing  of  the  exposure  somewhat 
difficult.  This  last  objection  can  be  overcome,  however,  by  always  trying  a 
small  piece  of  paper  on  each  subject  before  making  a large  print. 

The  use  of  daylight  requires  no  expensive  condensers,  and  the  apparatus 
is  less  elaborate  than  for  artificial  light. 

A mirror  30  inches  long  by  24  wide,  at  an  angle  of  45°,  will  reflect  the 
sky,  and  give  a much  more  uniform,  and  even  light,  than  any  opaque  reflector, 
being  very  nearly  equal  to  having  the  negative  looking  directly  to  the  sky. 

When  the  camera  is  set  up  for  daylight,  unless  it  commands  an  unob- 
structed view  of  the  horizon,  a reflector  of  white  cloth  or  paper,  or  better 
still,  the  mirror,  as  suggested  before,  should  be  arranged  outside  the  window, 
so  as  to  throw  the  light  from  above  on  to  the  ground  glass.  In  Fig.  1 the 
reflector  is  shown  rather  small  in  proportion,  and  too  close  to  the  outside  wall ; 
it  is  shown  better  in  Fig.  2.  To  ascertain  whether  it  is  in  its  proper  place  take 
out  the  lens  and  examine  the  ground  glass  from  inside  the  dark-room ; if  it 
appears  evenly  illuminated  it  is  sufficient.  No  harm  will  result  if  the  sun 
shines  on  the  ground  glass  and  reflector,  provided  it  strikes  evenly  ; if  the 
light  is  too  strong,  the  lens  can  be  stopped  down ; when  a mirror  is  used,  it 
should  be  covered  with  white  paper  when  the  sun  strikes  it. 

Electric  Light.  — When  a large  quantity  of  work  is  to  be  provided  for, 
the  arc  electric-light  is  most  convenient,  as  it  is  powerful  and  (practically) 
uniform.  Any  artiflcial  light  requires  a pair  of  double  condensers,  and  they 
should  be  arranged  as  in  Figs.  5 and  6. 


Fio.  6. 


AMATEUR  GUIDE  IN  PHOTOGRAPET. 


45 


ENLARGING  APPARATUS  FOR  ELECTRIC  LIGHT  IN  USE  IN  THE 

EASTMAN  FACTORY. 

Large  condensers  if  made  of  fine  glass  are  very  expensive,  but  an  inferior 
grade  chat  cost  only  a moderate  sum  may  be  used  if  a sheet  of  very  fine 
ground  glass  be  mounted  between  the  convex  surfaces  of  the  two  lenses. 
(See  Fig.  6.) 


Some  may  object  that,  theoretically,  this  is  not  the  proper  way  to  use  con- 
densers, to  which  we  would  reply  that  for  this  particular  purpose  it  is  the 
practical  way,  as  we  know  by  extended  experience.  It  is  suggested,  of  course, 
only  for  large  condensers. 

The  electric-light  giving  a stronger  light  than  is  actually  required,  the 
loss  caused  by  the  ground  glass  is  no  detriment.  A concave  refieetor  may  be 
used  behind  the  light  if  required.  It  is  seldom  found  necessary  in  practice, 
except  with  very  dense  negatives.  It  is  obvious  that  the  condensers  must  be 
large  enough  to  cover  the  negative,  or,  in  other  words,  the  diameter  of  the 
condensers  must  be  greater  than  the  diagonal  measurement  of  the  negative. 

All  artificial  light  produces  a harsher  chemical  effect  than  daylight. 

Oxyhydrogen  Light.  — This  light  may  be  employed  instead  of  the  arc 
electric-light,  and  it  gives  about  the  same  results. 

Gas  and  Kerosene  are  not  powerful  enough  for  enlarging,  except  on  a 
small  scale. 

Magic  Lanterns  with  oil-burners  will  answer  for  enlai’ging  from  card 
negatives  up  to  three  or  four  times,  but  no  lantern  is  suitable  unless  it  has 
double  condensers  and  a powerful  burner. 

Ha^'ing  described  the  apparatus  employed,  we  will  now  proceed  with  the 


OPERATION  OF  ENLARGING. 

The  Image.  — Shut  out  all  extraneous  light  from  the  dark-room,  slide  the 
negative  (upside  down,  face  toward  the  lens)  into  its  place  near  the  ground 
glass,  adjust  the  easel  at  the  proper  distance,  and  without  any  stop  in  the  lens, 
focus  the  image  upon  the  white  paper  on  the  face  of  the  easel.  ( A.  sheet  of 
white  paper  should  be  pasted  on  the  face  of  the  easel  when  it  is  set  up.) 
The  image  should  show  plainly  on  the  screen ; if  too  large,  move  the  easel 
closer  and  focus  again ; if  too  small,  vice  versd.  The  image  should  be  made 


46 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


to  register  properly  in  the  frame  on  the  easel  by  sliding  the  negative  in  the 
carrier  crosswise,  and  by  raising  or  lowering  the  front  of  the  camera  carrying 
the  lens.  In  case  condensers  are  being  used,  the  lens  must  remain  in  the  axis 
of  the  condensers  and  the  vertical  adjustment  obtained  by  raising  and  lowering 
the  easel  board. 

Trial  Exposures.  — For  example,  we  will  suppose  that  the  negative  is  a 
cabinet  head,  and  it  is  desired  to  make  a life-size  print  from  it,  using  a half- 
size portrait  lens  : in  this  case  no  stop  will  be  required  in  the  lens,  unless  the 
light  is  very  strong.  To  proceed  to  the  exposure,  cap  the  lens  and  pin  upon 
the  screen  where  the  head  comes  a small  piece  of  the  Permanent  Bromide 
Paper.  Provision  should  be  made  for  a uon-actinic  yellow  light  in  the  dark- 
room at  this  time  ; screen  the  yellow  light,  uncap  the  lens,  and  allow  the 
exposure,  if  the  day  is  clear,  to  continue  for,  say  fifty  seconds.  Cap  the  lens, 
and  develop  the  trial  exposure  as  directed  for  contact  printing.  If  the  image 
comes  up  dull  and  full  of  detail  it  is  over-timed  ; if  weak  and  without  detail, 
it  is  under-timed ; in  either  case  try  another  piece,  and  give  more  or  less  time 
as  required.  Under  different  conditions  the  tune  required  varies  from  five 
seconds  to  five  or  ten  minutes,  depending  on  the  light,  the  density  of  the 
negative,  the  aperture  of  the  lens,  and  upon  the  size  of  the  enlargement. 
These  conditions  all  vary  with  each  operator,  but  a few  trials  will  narrow  the 
exercise  of  judgment  down  to  the  intensity  of  the  light,  and  usually  one  trial 
exposure  will  give  a guide  to  that. 

A strip  of  paper  eight  or  nine  inches  wide,  cut  off  from  the  end  of  a 
twenty-inch  roll,  will  make  three  trial  pieces  large  enough  for  the  purpose. 

Vignetting.  — Having  ascertained  the  exposure  required,  swing  open  the 
frame  on  the  face  of  the  easel,  open  the  roll-box  and  pull  out  sufficient  paper 
to  reach  half  an  inch  below  the  inside  edge  of  the  bottom  rail  of  the  frame, 
hold  the  paper  with  one  hand  and  close  the  frame  on  to  it  with  the  other  — ■ 
the  clasp  will  hold  it  when  firmly  closed.  Next  turn  outward  the  button  stops 
in  the  roll-box  and  shut  down  the  cover.  The  stops  prevent  the  cover  creasing 
the  paper  where  it  leaves  the  box.  The  sensitive-paper  will  now  be  protected, 
except  inside  the  frame  where  the  image  falls. 

The  operator  standing  at  the  left  of  and  half  facing  the  easel  should  screen 
the  lens  with  a piece  of  straw  board  about  16  X 20  iuches,  having  a hole  of 
proper  shape  for  the  vignette,  cut  in  the  centre.  Having  uncapped  the  lens 
the  vignetter  should  be  moved  back  and  forth  from  the  lens  toward  the  easel, 
so  as  to  allow  the  head  and  shoulders  of  the  image  to  appear  on  the  screen. 
The  movement  out  should  be  sufficient  to  show  the  image  almost  to  the  edge 
of  the  kit,  and  in  far  enough  to  cut  close  to  the  head  and  shoulders.  This 
movement  to  and  fro  should  continue  through  the  entire  exposure,  which 
should  not  be  less  thau  twenty  or  thirty  seconds,  the  lens  being  stopped  down, 
if  necessary,  to  get  sufficient  time  to  operate  the  vignetter. 

To  get  a soft,  evenly  blended  vignette  requires  some  little  practice,  but  the 
knack  once  acquired  it  becomes  quite  easy. 

Extra,  Printing.  — Faces  and  light  drapery  often  require,  to  get  detail,  extra 
time  in  exposure.  This  is  accomplished  by  using  a card  having  a smaller  hole 
after  vignetting,  and  passing  it  over  the  portions  requiring  the  extra  time.  By 
keeping  the  spot  of  light  moving,  almost  anj’^  amount  of  additional  detail  may 
be  obtained  locally.  Occasionally  in  a half  or  full-length  subject  a hand  may 
require  less  exposure  than  the  rest  of  the  picture  ; in  this  case  a small  piece  of 
card-board,  cut  to  the  proper  shape  and  stuck  on  the  end  of  a knitting-needle, 
can  be  used  to  screen  that  part  of  the  image. 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


4.1 


The  paper  lends  itself  to  innumerable  dodges,  which  maybe  practised  in  a 
similar  manner,  the  operator  being  able  to  see  just  what  he  is  doing  from  his 
position  near  the  easel. 

The  develo])ment  is  the  same  as  has  been  described  for  contact  printing. 

Mounting  on  Cloth.  — Cover  an  artist’s  stretcher-frame  with  a piece  of 
common  white  muslin,  by  stretching  it  tightly  while  dry  and  tacking  it  on  the 
outside  edges.  Give  the  cloth  a coat  of  starch  paste,  rubbing  it  well  in  and 
avoiding  streaks  and  lumps,  lay  over  a smooth  table  a piece  of  rubber  sheeting, 
lay  the  wet  print  on  the  rubber  cloth,  face  down,  and  with  a rubber  squeegee 
scrape  off  the  water.  Give  the  back  of  the  print,  as  it  lies  on  the  rubber 
cloth,  a coat  of  the  paste,  and  then  lay  the  stretcher,  face  down,  upon  it,  and 
rub  the  muslin  into  contact  with  the  back  of  the  print,  using  a thin  paper- 
knife  to  reach  under  the  edges  of  the  frame.  Lift  the  frame  and  rubber-cloth 
from  the  table  together,  and  peel  the  rubber  off  from  the  face  of  the  print. 
This  will  leave  the  print  on  the  stretcher  smooth  and  flat.  When  dry  it  will 
be  as  tight  as  a drum-head. 

Mounting  on  Card.  — Employ  the  same  method  as  that  used  in  mounting 
contact  prints. 

HINTS. 

Mealy  Mottled  Prints.  — Over-exposure  and  short  development. 

Greenish  Tones  are  obtained  by  over-exposure  and  too  much  bromide. 

Forcing  Development  does  not  give  good  results  for  the  above  reason. 

Face  of  Permanent  Bromide  Paper  can  always  be  distinguished  by  its 
curling  in.  Convex  side  is  always  the  back. 

Fixing.  — The  operator  can  tell  when  a bromide  print  is  fixed  by  looking 
through  it  or  upon  it  in  a good  light,  unfixed  portions  will  be  greenish  yellow. 

Yellow  Prints.  — Prolonged  development  will  cause  yellow  prints  by 
depositing  iron  in  the  paper.  'Fhe  Exposure  must  be  correct  so  as  to  allow  of 
quick  development. 

Running  Water  is  not  so  sure  a means  for  washing  prints  as  changing 
them  from  one  tray  to  another,  allowing  them  to  soak  at  least  ten  minutes  in 
each  fresh  water  ; twelve  changes  are  sufficient ; no  less. 

Retouching  Negatives.  — Coarse  grinding  for  retouching  should  be  avoided, 
and  the  retouching  ‘ ‘ burned  in  ” to  the  varnish  over  a spirit  lamp  to  avoid 
having  the  scratches  show  in  the  enlargement. 

DON’T. 

Don’t  use  old  Hypo  for  fixing. 

Don’t  use  the  developing  dish  for  fixing. 

Don’t  put  the  prints  between  blotters  to  dry. 

Don’t  fail  to  rock  the  tray  well  while  developing. 

Don’t  rock  in  one  direction  only,  unless  you  want  streaky  prints. 

Don’t  fail  to  lift  the  print  up  and  turn  it  over  in  the  clearing  solution. 

Don’t  let  a jet  of  water  play  on  the  paper  while  washing ; it  will  cause 
blisters. 

Don’t  use  old  developer  on  large  prints  for  the  sake  of  economy  ; use  it 
fresh  every  time. 

Don’t  use  twice  as  much  acid  as  directed  in  the  developer  or  clearing 
solution  ; enough  is  enough. 

Don’t  expect  that  the  light  reflected  from  a red  brick  wall  will  be  sufficient 
for  enlarging.  Unless  your  enlarging  window  has  an  unbroken  horizon  use  a 
reflector.  Figs.  1 and  2. 


48 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


TRANSFEROTYPE  PAPER. 

Contact  or  enlarged  prints  are  made  upon  this  paper  in  precisely  the  same 
manner  as  upon  the  “ Permanent  Bromide  Paper.” 

By  this  process  opals,  window,  and  lantern  transparencies  can  be  made  at 
a trifling  cost. 

DIRECTIONS  FOR  USING  TRANSFEROTYPE  PAPER. 

Expose,  develop,  fix,  and  wash  the  print  on  Transferotype  Paper  the  same 
as  directed  for  Permanent  Bromide  Paper,  taking  care  that  no  alum  is  allowed 
in  any  of  the  solutions,  as  that  would  prevent  the  transfer.  After  washing 
the  print  is  ready  for 

Transferring.  — Lay  the  wet  print  face  down  upon  the  object  to  which 
it  is  desired  to  transfer  the  print.  The  surface  may  be  polished  or  ground 
glass,  porcelain,  wood,  prepared  canvas,  ivory,  or  any  substance  which 
will  withstand  the  action  of  hot  water,  and  allow  the  image  to  adhere.  It 
must  be  perfectly  clean  and  free  from  grease  or  oil.  Squeegee  the  wet  print 
carefully  into  contact  with  the  surface,  and  put  it  under  a blotter  and  weight 
to  dry.  When  dry  pour  hot  w'ater  upon  the  back  of  the  picture  until  the 
paper  blisters,  or  until  one  corner  can  be  lifted  with  a pin ; then  gently  pull 
the  paper  away.  After  removing  the  paper,  gently  rub  the  surface  of  the 
picture  with  a tuft  of  cotton,  moistened  with  warm  water,  and  set  away  out  of 
reach  of  dust  to  dry. 

The  paper  may  be  stripped  any  time  after  it  has  been  thirty  minutes  under 
the  blotter,  but  it  is  safer  to  allow  it  to  thoroughly  dry. 

The  proper  temperature  for  the  hot  water  depends  greatly  upon  whether 
the  paper  is  dry  or  not ; if  dry  it  should  be  about  180°  Fahr.  ; if  only  thirty 
minutes  has  elapsed  after  squeegeeing  down,  the  water  should  be  about  130° 
Fahr.,  and  the  temperature  gradually  raised  by  the  addition  of  boiling  water 
until  the  paper  blisters. 

Thirty  Minutes  is  the  least  time  that  should  be  allowed  for  drying  ; other- 
wise there  is  danger  of  the  picture  leaving  the  support. 

Clean  Dishes,  Clean  Hands.  — The  faintest  trace  of  Hyposulphite  of 
Soda  or  of  Pyrogallic  Acid  is  fatal  to  good  results  in  developing  Transferotype 
paper,  and  the  operator  cannot  be  too  careful  to  avoid  any  contamination. 
The  tray  used  for  developing  with  oxalate  should  never  be  used  for  anything 
else. 

Glac4  Prints.  — Contact  prints  made  on  Transferotype  Paper  have  a bril- 
liant, glossy  surface,  and  may  be  mounted  and  used  as  ordinary  bromide  prints 
without  burnishing. 

Lantern  Slides  may  be  printed  by  contact,  using  lamp  or  gas-light,  or  in 
the  camera  using  daylight. 

Prints  intended  for  transparencies  should  be  developed  fnrtlier  than  a 
print  that  is  to  be  viewed  by  reflected  light ; in  the  former  case  the  progress 
of  development  must  be  examined  by  looking  through  the  print,  and  in  the 
latter  by  looking  down  upon  it  as  it  lies  in  the  tray.  Many  photographers 
have  a large  amount  of  lantern  slide-glass  remaining  from  failures  in  making 
slides  on  dry  plates,  this  glass  can  be  made  use  of  in  this  process. 

Window  Transparencies,  enlarged  or  contact  prints,  should  be  transferred 
to  a clear  glass,  and  backed  up  by  a piece  of  ground  glass. 


AMATEUR  GUIDE  IN  PHOTOGRAPHY. 


49 


Opals  for  framing,  or  for  window  transparencies,  are  made  by  transferring 
the  picture  to  the  ground  surface  of  opal  glass. 

Placques,  Tile,  Lamp)  Shades,  and  various  articles  may  in  a like  manner 
be  decorated  either  as  a basis  for  water-color  work  or  simply  for  the  photo- 
graphic eifect ; such  articles  when  given  a coat  of  damar  varnish  and  heated 
in  an  ordinary  oven  will  bear  washing. 

Engraver's  Blocks.  — Transferotypes  can  be  put  on  wood  blocks  for 
engraving.  The  film  being  only  1-4000  of  an  inch  thick  it  does  not  interfere 
with  the  graver.  For  very  fine  work  the  image  may  be  ground  still  thinner 
by  means  of  dry  powdered  pumice-stone.  The  image  being  stronger  and 
clearer  than  produced  by  any  other  process,  the  results  are  correspondingly 
better. 

After  the  transfer  has  been  dried  on  the  block,  a little  glycerine  wiped 
over  it  with  the  finger  will  cause  it  to  cut  smoothly  under  the  graver  and 
with  no  tendency  to  chip. 


7y9U 


1(EA^QM^  Why  BLAII(’^  1(EVE1(^IBLE  baci^  i\w\4 
]^I(E  ^npEI(I01(  TO  ALL  OTjlEl^^. 


They  are  constructed  to  receive  our  Patent  Extension 
for  making  negatives  larger  than  the  Camera  proper.  No 
fitting  or  extra  charge  is  made  as  is  the  case  when  putting 
our  Patent  Extension  on  Cameras  of  other’s  make. 

OUR  ADJUSTER  AND  PLATE-HOLDERS 

are  attached  by  a system  of  grooves  and  springs  which 
leave  no  screw  or  pin  sticking  out  above  the  surface  to 
scratch  and  injure  the  polish  or  hands.  These  Cameras 
are  fitted  with  our  popular  Patent  Reversible  Adjuster, 
having 

SPRING  ACTUATED  GROUND-GLASS  FRAME. 

This’  method  of  removing  the  ground-glass  frame  from 
contact  with  the  Camera,  and  keeping  the  Plate-Holder  in 
position  during  exposure,  is  superior  to  all  other  methods. 
No  better  evidence  of  this  fact  is  needed  than  the  attempts 
of  other  manufacturers  to  copy  it. 

All  Spring  Actuated  Ground-Glass  Frames  movably  fixed 
to  allow  the  Plate-Holder  to  be  placed  behind  the  frame 
are  infringements  on  our  patents,  and  persons  manufact- 
uring, or  causing  to  be  manufactured,  or  selling  adjust- 
ers, or  adapters  (so  called)  other  than  those  bearing  our 
stamp,  will  be  held  responsible  for  such  infringement. 

OUR  CAMERAS 

possess  a greater  focussing  capacity  (length  of  bellows) 
than  any  others,  thus  enabling  the  operator  to  use  any  make 
or  style  of  lens  without  Extension  fronts.  Dealers  in  photo- 
graphic apparatus  say  they  are  not  asked  to  exchange 
our  Cameras,  because  they  are  found  to  meet  all  the  re- 
quirements of  the  photographer,  whether  amateur  or  pro- 
fessional. 

OUR  APPARATUS 


is  made  on  a system  of  interchangeable  parts  which  are 
never  found  to  vary.  The  above  facts  of  superiority  in 
utility  in  connection  with  the  beauty  of  style,  designs,  and 
finish,  and  superior  quality  of  workmanship,  place  Blair’s 
Cameras  ahead  of  all  others. 

Ask  to  be  shown  the  latest  styles,  and  insist  upon  see- 
ing them.  BLAIR  CAMERA  CO. 


